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<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''Zhu Ziqing'''<br /> <br /> A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &quot;''Back View''&quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now. <br /> ==Chang Huiyue 常慧月==<br /> This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &quot;''The Moonlit Lotus Pond''&quot;, whose style easily may seem mannerist to the Western reader.<br /> <br /> Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence. <br /> ==Chen Han 陈涵==<br /> I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''&quot;Report On the Massacre of the Government''&quot;[ (Zhizhengfu da tusha ji).].<br /> <br /> ''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''<br /> <br /> 我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。<br /> <br /> ''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> ''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''<br /> ==Chen Jiangning 陈江宁==<br /> From this experience, Zhu addresses directly the repsonsible political leaders:<br /> <br /> ''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''<br /> ==Chen Jiaxin 陈佳欣==<br /> In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &quot;''Ways to die''&quot;[ (Si fa).] - in which he finds &quot;to be shot&quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.<br /> <br /> The essay &quot;''Facing the New China''&quot;[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.<br /> ==Chen Jingjing 陈静静==<br /> ''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''<br /> <br /> A few weeks before his death, he demanded in the speech ''&quot;Today's duty of the Intellectuals''&quot;[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.<br /> <br /> “中国必须通过民主化重生。[...]人们应该表达自己的意志，集中自己的力量。各级行政机关都应该建立在人民的意志和力量的基础之上，并且为大多数人及其最大化的幸福而奋斗。也就是民治，民有，民享。”<br /> <br /> ”中国必须用过民主化重生。[...]人们应当表达他们自身的意志，集中力量。各级政府都应建立在人民意志和力量基础之上，并为大部分人民及其最大幸福而奋斗。也就是民治、民有、民享。”--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:15, 27 December 2020 (UTC)<br /> <br /> 在他去世的几周前，他在 “知识分子今天的职责”的演讲中要求知识分子参与建设更好的社会。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 11:31, 27 December 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.<br /> ==Chen Sunfu 谌孙福==<br /> '''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''<br /> <br /> Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay. <br /> ==Chen Yongxiang 陈永相==<br /> I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].<br /> <br /> 我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。 谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。<br /> <br /> 分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)<br /> <br /> ==Cheng Yusi 成于思==<br /> The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].<br /> <br /> The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s: <br /> ==Deng Jinxia 邓锦霞==<br /> 1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].<br /> <br /> 2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. <br /> <br /> 3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> ==Ding Daifeng 丁代凤==<br /> If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:<br /> <br /> 1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)<br /> <br /> 如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文: <br /> <br /> 1、异国情调 在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling<br /> <br /> ==Fang Jieling 方洁玲==<br /> 2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> 3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]<br /> <br /> Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.<br /> ==Gan Fengyu 甘奉玉==<br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> <br /> 政治散文的主题从1907年兴起的启蒙教育散文转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影）都在讨论最佳社会制度，于是有关政治问题的主题复兴，但20世纪90年代时，主题又变成了非政治性，更加哲学道德的主题范畴，那会，散文家们首先对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:42, 27 December 2020 <br /> <br /> 政治类散文的局部发展从1907年兴起的启蒙教育类转变为20世纪20-30年代的日常政治散文，又进一步于20世纪40年代转变为反日宣传，于20世纪50-60年代发展为意识形态宣传。然而到了20世纪80年代，（文学和电影中）对于最佳社会制度的探讨使得政治话题再次变得火热。但20世纪90年代时，写作主题又转向非政治性，以及更加哲学道德的范畴，那会，散文家们首先会对照大众的消费导向来定义角色。除了声称“艺术倾注的”文章外，在中国，这类散文似乎是保留了教育主张的唯一体裁。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:53, 27 December 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;''On dreams''&quot;[ &quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&quot;''My own garden''&quot;[ 9.1923.], &quot;''The Fly''&quot;[ 1924.], &quot;''Reading on the Toilet''&quot;[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.<br /> <br /> 非政治类文章的局部发展始于朱自清以及周作人1917年开始写的每日随想（朱自清1928年发表的散文《说梦》；周作人1923年发表的《自己的园地》、1924年发表的《苍蝇》、1936年发表的《入厕读书》）。自1927年的修正，政治类文章成为主流，直到20世纪30年代末期，非政治类文章因为抗日战争的爆发完全消失。直到20世纪70年代，人民生活回归正常，非政治类文章才重新现世，由于消失太久，日常琐事成为当时热门的写作话题。20世纪90年代，由于政治话题热度的下降以及进入新时代为迎合广大群众而开发新话题的需要，非政治类文章又迎来一次高潮。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 12:46, 27 December 2020 (UTC)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Gu Dongfang 顾东方==<br /> A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &quot;readers&quot;). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in &quot;''Wild vegetables of my home region''&quot; by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's &quot;Moon traces&quot;, which ranks 11, and in Ba Jin's &quot;''Paradise for Birds''&quot;, which ranks 19]. Therefore one can state, that moving essays form the top.<br /> ==Guan Qinqing 管钦清==<br /> In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. <br /> ==Gui Yizhi 桂一枝==<br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]<br /> <br /> 上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”） 费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)<br /> <br /> '''References''' [partly mentioned with German translation] （不用翻）<br /> <br /> Vera Schwarcz 1996, Vera Schwarcz, &quot;The pain of sorrow: public uses of personal grief in modern China&quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)<br /> <br /> Ba Jin 1982, Ba Jin: &quot;Yi feng huixin 一封回信&quot; (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.<br /> <br /> Ba Jin 1982a, Ba Jin: &quot;Yi pian xuwen 一篇序文&quot; (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984<br /> <br /> Ba Jin 1956, Ba Jin 巴金: &quot;Duli sikao 獨立思考&quot; (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]<br /> <br /> Ba Jin 1962, &quot;Zuojia de yongqi yu zerenxin 作家的勇氣與責任心&quot; (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: &quot;Wenxue tan 文學談&quot; (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167<br /> <br /> Zhou Zuoren 1919, Zhou Zuoren, &quot;Zuxian chongbai 1919 (Ancestor Worship),&quot; in Early Essays, op.cit., pp. 78<br /> <br /> Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求&quot; (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296<br /> <br /> Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181<br /> <br /> Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)<br /> <br /> Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71<br /> <br /> Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148<br /> <br /> Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)<br /> <br /> ==Guo Lu 郭露==<br /> '''Modern Chinese Literature and the Essay Genre: A New Perspective'''<br /> <br /> ''Martin Woesler''<br /> <br /> In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.<br /> <br /> 《中国现代文学与散文体裁：以新视角》<br /> <br /> ''吴漠汀''<br /> <br /> 在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)<br /> <br /> <br /> 《中国现代文学与散文体裁：新视角》<br /> <br /> 吴漠汀<br /> <br /> 本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> '''1. The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);<br /> <br /> '''1.未知体裁'''<br /> <br /> 二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)<br /> <br /> '''1.未知体裁'''<br /> <br /> 20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。 在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。 作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> ==He Changqi 何长琦==<br /> '''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &quot;wu yunwen&quot; which corresponds to the term &quot;epic&quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.<br /> ==Hu Baihui 胡百辉==<br /> In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> 在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)<br /> <br /> 在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> &quot;Essay&quot;, Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.<br /> <br /> “散文”，中文主要是“散文”，是一个较短的、独立的非虚构散文文本的体裁术语，作者试图从主观的角度调解个人对一个对象或问题的体验。它试图从不同的方面进行联想，不是作为日常使用的文本，而是用艺术或教育要求的语言手段，然而是以一种容易理解的形式。资源由散文家自主掌握，主题在更大的背景下被看到，甚至可以幽默地呈现。文章在形式和内容上的自由是必不可少的。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 13:22, 27 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> ==Ji Tiantian 纪甜甜==<br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)<br /> <br /> 在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)<br /> <br /> 21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)<br /> <br /> 在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).<br /> <br /> 尽管人们普遍接受用短小故事来翻译短篇小说，但两者的关系不如西方的散文和中国的同类文章密切。这个定义是我从5000多篇中国现代散文样本中发展出来的，也符合国际上对散文的特殊理解（继博尔兹1992年13:269-272论西方散文的发展；布特莱姆1989年论西方散文的理论）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:01, 27 December 2020 (UTC)<br /> <br /> 尽管人们普遍接受用“短小故事”来翻译“短篇小说”，但两者的关系并不如西方散文与其中国同类文章密切。这个定义是我从5000多篇中国现代散文样本中得出的，也符合国际上对散文的特殊理解（继博尔兹于1992年 13:269-272 论西方散文的发展；布特莱姆于1989年论西方散文的理论）。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:34, 27 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &quot;Chinese&quot;? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.<br /> <br /> 除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)<br /> <br /> 除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)<br /> <br /> 除了周作人提倡采用英语散文风格所体现的全球化社会趋势外，中文散文还具有独特的本土特色。中文散文如何在文化上定义，其中国性又是什么？在西方文章中，形式似乎是比中国文章更重要的区分标准。在中国，甚至包括那些只有类似内容，却跨越了形式上的属相框架的文本。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 11:05, 27 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> This can be shown with Zheng Mingli, who subcategorises the &quot;unfinished diary&quot; or the &quot;unfinished letter&quot;. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: &quot;essay in diary form&quot; and &quot;essay in letter form&quot;), they are accepted as essays. <br /> ==Kang Lingfeng 康灵凤==<br /> '''The Chinese understanding of the genre is tendencially broader'''<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' &quot;non-rhythmic prose&quot;, which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning &quot;short literary essay pieces&quot;. <br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> <br /> '''中国人对这类体裁的理解区域广泛'''<br /> <br /> 在中国，这种对随笔的广泛认识可以直接追溯到“散文”一词在中文中所具有的“无韵散文”的内涵，“无韵散文”原本指所有的非虚构散文。从更广泛的意义来讲，个人或日常使用的文本也包括在内。但是，我只讨论“散文”的狭义意义，指的是“短篇文学随笔片段”。<br /> <br /> 更进一步的差异是，中国散文往往具有思想内容，并表现出重复、谚语使用等文体特征。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> '''The Chinese essay is booming again in the 1980s and 1990s'''<br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).<br /> <br /> 20世纪80年代和90年代中国散文再次蓬勃发展<br /> 研究表明，1979年以后散文发表量普遍增加，在“文革”之后出现了两个高峰期。<br /> 散文出版量在1990年达到了一个新的高度。第一次增长出现在20世纪20年代和30年代，但是在此之后，散文的角色因为报告这一体裁(报告文学)而黯然失色。(Klaschka 1998。)在1920/30年代和1980/90年代，散文的繁荣在一定程度上得益于新杂志的出现，这些杂志是当代散文家发表文章的阵地，其大多属于散文丛书。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 14:22, 27 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> <br /> 文化革命结束后，散文产量的增加导致需求积压，1980至1982年间，共有印刷了一百万册的散文集，这仅计算了我为调查收集的130本“代表性”书籍的样本中包含的藏书。<br /> <br /> 感谢一些年长的中国编者的作品，自20世纪70年代以来，整个散文文化是由杂志和报纸汇编而成的，并以大量选集的形式出版。这种文学繁荣堪比无题乡图文学的文化热，它是在台湾自我认同和独立运动的背景下兴起的。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:23, 27 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''2. Why is the essay as abundant as fiction?'''<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> - The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &quot;Modern Chinese Literary Thought&quot; 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> ==Lei Kuangxi 雷旷溪==<br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> <br /> - The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。<br /> <br /> - 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)<br /> <br /> 胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌也依赖意向和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。<br /> <br /> -散文也比诗歌和小说更能反映社会的趋势。由于散文的内容和形式上受限，它比诗歌更能直接表达个人主义。散文很短，所以花时间少，可以在上班路上的地铁里读，但在地铁里读诗可能就不能那么随性的享受了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:54, 27 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.<br /> [[Media:Example.ogg]]==Li Lili 李丽丽==<br /> - The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).<br /> <br /> “随笔”的产量超过了“小说”：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:33, 27 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)<br /> <br /> “随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> '''3. Let us assign the essay its proper place'''<br /> The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.<br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.<br /> <br /> 3.让我们为散文指定其适当的位置，<br /> 由此得出的结论是:让我们为散文指定其适当的位置!我将描述发现这篇文章的开始。尽管从1979年开始，论文写作有所增加，但对这一现象的第一次理论反思却花了10年时间才出现。又过了10年，中国研究的国际学者才意识到这一现象。<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)<br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。除此之外，20世纪90年代的两次会议也没有转向国际学术研究的方向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.<br /> <br /> 在不早于上个世纪90年代下半叶之时，出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。<br /> <br /> 关于中国大陆，台湾地区和西方的散文评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:23, 27 December 2020 (UTC)<br /> <br /> 上世纪90年代后半期以前, 出现了使用西方语言学方法撰写的中国散文史（Woesler 1998），并且散文首次作为与小说和诗歌同等的体裁被纳入西方文学选集。 （《哥伦比亚现代中国文学选集》 1995，《现代中国文学思想读本》 1996）。中国大陆，台湾和西方对散文的评价，存在地区差异：在美国，人们通常根据西方人的喜好来选择散文，给予完全不知名的作家与知名作家同等的篇幅。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:24, 27 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.<br /> 在台湾,鲁迅很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 12:16, 27 December 2020 (UTC)<br /> <br /> 在台湾,鲁迅的作品很早就被禁了,但今天,在我的调查里,上世纪90年代中国散文家作品印刷量最大的时候,鲁迅排在了第16位。 如果只考虑现代作家,甚至排在了第12位。 香港关于余光中文学的评论,被黄伟良第一次看中(见林耀德1989:50),王蒙因政治职务在中华人民共和国被高估。<br /> <br /> 然而,要获得西译中最重要的中国散文,还需要一个参考文献。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:39, 27 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. <br /> ==Li Yu 李玉==<br /> '''4. Taking into consideration the essay will rewrite the history of Chinese literature'''<br /> <br /> I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.<br /> <br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. <br /> ==Lin Min 林敏==<br /> The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Lin Xin 林鑫==<br /> In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> '''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''<br /> <br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.<br /> <br /> 下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。<br /> <br /> 5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。<br /> 中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.<br /> ==Liu Bo 刘博==<br /> 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.<br /> <br /> “詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。<br /> 在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)<br /> <br /> “诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。<br /> 在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. <br /> ==Liu Liu 刘柳==<br /> Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.<br /> <br /> 荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)<br /> <br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。<br /> <br /> 历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)<br /> <br /> 荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。<br /> <br /> 历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:20, 27 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.<br /> <br /> 边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。<br /> <br /> 考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)<br /> <br /> 边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。<br /> 考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &quot;Eight legged essay&quot; as as appealing and intoxicating as the &quot;pleasure of doing opium.'' (Zhou 1932:148).<br /> <br /> 目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。<br /> 现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 &quot;八股文 &quot;的语言节奏看作是 &quot;做鸦片的快感 &quot;一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)<br /> <br /> <br /> 直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。<br /> <br /> 前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)<br /> <br /> ==Liu Yi 刘艺==<br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)<br /> <br /> 但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。<br /> <br /> 理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> '''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''<br /> <br /> To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911). <br /> ==Liu Zhiwei 刘智伟==<br /> The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> <br /> This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)<br /> <br /> 然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:<br /> <br /> 以五四运动传奇作者为例可以看出个人观点对历史事实的叙述的影响有多大。 这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。 后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:19, 27 December 2020 (UTC)<br /> <br /> 以五四运动传奇作家为例可以看出个人观点对史实叙述的影响有多大。这些作者把英文散文视为中国散文之父：周作人（1921年），鲁迅（1933年）以及后来的无政府主义者吴志辉（1934年）。后来，其中一些作者改变了主意，通过寻找中国本土散文传统的证明来支持他们自己的论文理论：--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:14, 27 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> for example, Lu Xun with his theory &quot;'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論&quot;&quot; (Theory of &quot;Starting&quot; and &quot;Blossoming&quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &quot;Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論&quot; (Theory of the Synthesis of the Gongan School and the English Essay).<br /> <br /> 例如，鲁迅以其“开始”与“绽放”的理论，将晋代散文的战斗性和批判性视为中国散文的“父”，周作人则先是英文散文（1921年）出发，之后是明朝“笔记”（随心记录），尽管他仍试图在公干派与英国小品合成论中中融入英文文章。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 14:09, 27 December 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> ==Ma Shuya 马淑雅==<br /> When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as &quot;paralyzing&quot; (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the &quot;Fly&quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &quot;Thoughts&quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.<br /> ==Ma Zhixing 马智星==<br /> The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products.<br /> ==Meng Ying 孟莹==<br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &quot;a genre of self-reflection&quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).<br /> ==Mo Ling 莫玲==<br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.<br /> <br /> 除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling<br /> <br /> 如果我们考虑到散文，不仅文学作为一个整体的理解会改变，而且如果我们不仅看到他们的小说或诗歌，而且看到他们的散文，单个作者的观点也会改变。我只提周作人,他的想法在精神上把他和他在欧洲、日本和美国的当代同事联系在一起，但这些想法在中国还中国行不通。那时，中国已经走上了一条远离进步、财富、自由和精神启蒙的道路。其后果还有待克服。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:27, 27 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. <br /> ==Nie Xiaolou 聂晓楼==<br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &quot;art pourt l'art&quot;.<br /> ==Ou Rong 欧蓉==<br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&quot;Shuo meng 說夢&quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &quot;The Fly&quot; 1924, &quot;Reading on the Toilet&quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. <br /> ==Ouyang Ling 欧阳玲==<br /> In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.<br /> <br /> 20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。<br /> <br /> 考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)<br /> <br /> 20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。<br /> <br /> 一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> '''Zhou Zuoren'''<br /> <br /> I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &quot;degenerated&quot; and later became a &quot;traitor&quot;. Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.<br /> ==Peng Juan 彭娟==<br /> ''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''<br /> <br /> ''Yu Guangzhong's essay'' &quot;The wolves are coming&quot; ''shows that the ideological perspective did not only harm mainland essaywriting.''<br /> ==Peng Ruihong 彭锐宏==<br /> In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921). <br /> <br /> In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?<br /> ==Peng Xiaoling 彭小玲==<br /> With these words from the essay &quot;''The aesthetic essay''&quot; this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &quot;king of essays&quot;. <br /> <br /> In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.<br /> <br /> “美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。<br /> <br /> 为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。 他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea &quot;l'art pour l'art&quot; , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181). <br /> ==Peng Yuzhi 彭育志==<br /> In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. <br /> <br /> &quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &quot;monsters&quot; and &quot;goblins&quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&quot; <br /> ==Qi Kai 漆凯==<br /> Confronting tradition and progress in the essay &quot;''Ancestor Worship''&quot;, he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). <br /> <br /> Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.<br /> <br /> ==Qu Miao 瞿淼==<br /> Siehe ''Journal'' (10.2.1804). Die &quot;Kunst um der Kunst willen&quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &quot;Kunst um der Kunst willen&quot; zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.<br /> <br /> Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &quot;''Liang Qichao on Poetry Reform''&quot; 1996, Bd 1, S. 213.<br /> <br /> 见“期刊”（102.4804 年）。“艺术之艺术”宣传了艺术目的自由。相比之下，承诺的文学是可以理解的。周作人对文学的理解与“艺术之艺术”概念之间的相似之处也吸引了沃尔夫：“周作人”，1971 年 84.<br /> <br /> 参见周作人：“中国新文学的起源”，1934 年，第 95-98 页；另见陈子赞：“中国文学史讲座”，1937 年，第 3 卷，第 416-422 页，特别是 p422。注：H。马丁：“梁启超诗歌改革”，1996 年，第 1 卷，p213--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:55, 27 December 2020 (UTC)--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 13:57, 27 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &quot;duoluo 墮落&quot; (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).<br /> ==Sagara Seydou ==<br /> Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'. <br /> <br /> On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.<br /> <br /> ==Shi Diwen 石迪文==<br /> Another example of a misread Zhou Zuoren is his short essay on &quot;''The Fly''&quot;, where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. <br /> ==Shi Haiyao 石海瑶==<br /> The official reading re¬proaches Zhou that he &quot;saw only the fly and not the cosmos&quot; , a quotation of the young Zhou about a position he himself clearly opposed.<br /> <br /> His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. <br /> <br /> Siehe Zhou Zuoren: &quot;Cangying 蒼蠅&quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.<br /> <br /> ''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &quot;''Cangying'' 蒼蠅&quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）<br /> <br /> 官方的解读指责他“只看到了渺小，而没有看到伟大”，这是对年轻的周作人的引用，他自己明确反对该立场。<br /> 他谈论生活中更愉快的事情，在他推特的文章“鸟”中得到了展示。在“北京蛋糕和甜食”与“我家乡的野菜”中，周作人通过描述风俗和特殊的地区食物，展示了他让读者感到宾至如归的能力。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:37, 27 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.<br /> <br /> 他的作品《苦雨》展现出了这种氛围，因此他的文章被称为“苦茶”：阅读完之后能感到余味悠长。如果你对比鲁迅和周作人的《论饮茶》(Yang/Yang 1961 3:325-326)，你可以看到“短小精辟”和“雄辩易读”的区别。《初恋》是最欢乐的作品。文章《三种不同的死法》表明周作人在讽刺小说方面足以与他的哥哥抗衡。鲁迅的同题作文《1926年3月18日的大屠杀》让人眼前一亮。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:36, 27 December 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.<br /> <br /> '''7. The essay as a snapshot of contemporary thoughts'''<br /> <br /> ''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''<br /> <br /> ==Su Lin 苏琳==<br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.<br /> ==Tan Xingyue 谭星越==<br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &quot;''Anxiang'' 安详&quot; (Serene) 1992, &quot;''Zuohao ni ziji de shi'' 做好你自己的事&quot; (First make your own things in a good way) 1994). <br /> ==Tan Xinjie 谭鑫洁==<br /> These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (&quot;''Shanxi opera''&quot;, Jia Pingwa 1984) or negative world (&quot;''The nightmare''&quot;, Si Yu 1995).<br /> <br /> From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:<br /> 这些散文主要发表在报刊和杂志上，在瞬息万变、匿名、疏离和消费导向的大众文化社会中广为人们阅读。<br /> 20世纪80年代和90年代的其他散文虽是一种新的主观主义，其目标是摆脱当代的矛盾，但是通过创造一个积极的世界（“秦腔”，贾平凹，1984)或消极的世界(“噩梦”，思羽，1995)来迎合观众。<br /> 从这篇文章中，我们可以看到当代文学的趋势，这也是20世纪90年代这种文学体裁增加的原因:--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:30, 27 December 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> - The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); <br /> <br /> - The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> - A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> - The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> - 当下中国社会的浮躁节奏，对转折性和短文的要求。&quot;[...]我们生活在一个论述的时代&quot;(Hall 1984:xiii)。<br /> <br /> - 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。<br /> <br /> - 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。<br /> <br /> - 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)<br /> <br /> <br /> -当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；<br /> <br /> -对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；<br /> <br /> -通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。<br /> <br /> -日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> - The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. <br /> <br /> - Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.<br /> ==Tang Ming 唐铭==<br /> This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: &quot;readers&quot;). <br /> <br /> - The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay &quot;''The Back View''&quot;, filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &quot;''The Moonlit Lotus Pond''&quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.<br /> ==Tang Yiran 汤伊然==<br /> Nostalgic home feelings are the emotional identification element in &quot;''Wild vegetables of my home region''&quot; by Wang Zengqi. Therefore one can state, that moving es¬says form the top.<br /> <br /> - ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''<br /> <br /> ==Tao Ye 陶冶==<br /> ''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).<br /> <br /> - ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''<br /> ==Wang Meiling 王美玲==<br /> ''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''<br /> <br /> - Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being &quot;''The Small Dog Baodi''&quot;, written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (&quot;''In memoriam of Xiao Shan II''&quot;, Ba Jin 1984).<br /> ==Wang Xuan 王轩==<br /> Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &quot;''Rain in Kunming''&quot; as well as for Jia Pingwa's &quot;''Shanxi opera''&quot;. <br /> 类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。<br /> <br /> - The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.<br /> 施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。<br /> <br /> Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）<br /> <br /> ''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &quot;The nightmare&quot;, where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）<br /> <br /> And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &quot;woman soldier&quot; .（文献无需翻译）<br /> <br /> ==Wang Yu 王煜==<br /> '''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''<br /> <br /> Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.<br /> <br /> - People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?<br /> <br /> ==Wang Yuan 王源==<br /> - If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?<br /> <br /> - Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?<br /> <br /> ==Wei Honglang 韦洪朗==<br /> - The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?<br /> <br /> - 在中国，世界范围内城市生活的异化和互相不认识的现象与传统价值观如意识形态、家庭、团圆等的丧失结合在一起，有利于为自己谋利的观念，如果这已经产生了对新方向的渴望，这个领域能否被道德指导性文章或民族主义思想所填补呢？--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:35, 27 December 2020 (UTC)<br /> <br /> 《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录<br /> <br /> '''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）<br /> <br /> 吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University<br /> <br /> Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）<br /> <br /> ==Wei Yafei 魏亚菲==<br /> '''Abstract'''<br /> <br /> In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.<br /> <br /> Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide. <br /> <br /> 摘要<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）<br /> <br /> 在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。<br /> <br /> 曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)<br /> <br /> ==Wen Sixing 文偲荇==<br /> ''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.<br /> <br /> 红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> <br /> “红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改&lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;）<br /> <br /> 多元一体<br /> <br /> '''Key words'''<br /> <br /> Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage<br /> --[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)<br /> <br /> 《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> '''1. Chinese Ethics'''<br /> <br /> To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.<br /> <br /> When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.<br /> <br /> However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.<br /> <br /> ==Wu Kai 吴恺==<br /> '''2. Compatibility<br /> '''<br /> Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?<br /> <br /> First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.<br /> <br /> '''2. 兼容性<br /> '''<br /> 为什么《红楼梦》在世界范围内广泛流传，甚至在翻译领域中也取得了世界文学的地位？<br /> <br /> 首先，《红楼梦》和世界小说一样，是一部娱乐文学。与戏剧中的每一个元素都是强制性的，在整体结构中起作用的戏剧相比，小说的行动路线本身更简单，也不那么重要，大部分场景或情节都松散地组合在一起，这和小说更广泛的主题相吻合。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:29, 27 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.<br /> <br /> '''3. Impact of translator’s native culture on the translation process'''<br /> <br /> There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.<br /> <br /> 然而，《红楼梦》章回结构不连续来自于《水浒传》中几乎没有联系的章回的传统，这是朝着章回更连贯、与故事线一致以及更集中于较少主角的方向迈出的一步。因此，《红楼梦》明显向西方小说传统迈进了一步，可能是因为西方对清代的影响越来越大。<br /> <br /> '''3.译者的本土文化对翻译过程的影响'''<br /> <br /> 《红楼梦》和西方文学作品之间有跨文化的相似之处。<br /> --[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:54, 27 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.<br /> <br /> '''4. The novel as embodiment of “Zeitgeist”'''<br /> <br /> According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.<br /> ==Wu Xiang 邬香==<br /> The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist). <br /> <br /> The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.<br /> ==Wu Yilu 吴一露==<br /> While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).<br /> <br /> 虽然作者在他的时代无法批判皇帝的制度和权力，但在小说中，他通过家族的日益衰败（修行道教、休闲、写诗、艺术和音乐，而不是为了能够谋生而学习）和自己没有实现作为家族继承人的期望中寻找受迫害的罪责，来接受这种生活。这种对没落家庭颓废的描述，让我们想起了契诃夫的小说（如曼恩的《布登布鲁克》，包括对艺术和音乐的转向）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:35, 27 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.<br /> <br /> '''5. Coming-of-age and Alienation'''<br /> <br /> Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.<br /> ==Xiao Shuangling 肖双玲==<br /> However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.<br /> <br /> 然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。 尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作 在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> 然而，曹雪芹所传达的信息并不是简单的“失乐园”，相反，他把自己的生活过得很好。 虽然比起他的家族享受皇帝的宠爱，他过得没有那么富裕，但清初中国有一套薪俸制度和一张完整的社会网，他获得了足够的收入，可以独立于富贵亲戚，可以有选择性地接受工作，可以在大自然的小房子里过着悠闲的生活，可以与家人和朋友共度时光，可以追随自己的兴趣，例如读书，写作和饮酒，可以为孩子们做风筝，可以为弱势群体着想。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 11:27, 27 December 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 &quot;时间精神&quot;(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting<br /> <br /> 曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)<br /> <br /> 曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.<br /> ==Xiao Yining 肖伊宁==<br /> Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802). <br /> ==Xie Fan 解帆==<br /> Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''. <br /> <br /> '''6. Pornography and True Love, female rivals'''<br /> <br /> Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。<br /> “6.色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)<br /> <br /> 与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。<br /> “6。色情与真爱，女性对手&quot;<br /> 性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> In the barock literature of the 17th century even the physical act is described extensively. <br /> <br /> According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.<br /> <br /> The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).<br /> <br /> ==Xu Jia 徐佳==<br /> In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).<br /> <br /> In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”<br /> <br /> Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.<br /> <br /> 在《梦》的框架故事中，叙述者有意识地站在了反对低级动作和刻板色情文学的立场上，也站在了反对普遍存在的言情小说的立场上（以美丽的才女和通过公务员考试最终获得地位和财富的穷书生为经典角色）。<br /> <br /> 在第一章中，他说：&quot;年轻人的真情实感......至今无人报道&quot;。<br /> <br /> &quot;情色场面以体面和联想的方式描述（&quot;云和雨的游戏&quot;），同时表现出另一种开放性，例如对双性恋的开放。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:35, 27 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.<br /> <br /> While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”. <br /> <br /> ==Xu Jing 许静==<br /> In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).<br /> ==Xu Mengdie 徐梦蝶==<br /> '''7. Feudal society and slavery'''<br /> <br /> A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.<br /> <br /> 封建社会和奴隶<br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> 一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)<br /> <br /> 许多人认为，贾宝玉对家庭成员和仆人的平等对待是解放奴隶的宣言。我也不同意这种看法。因为当亚里士多德要求民主时，奴隶并没有投票权。所以我们不能用现代的概念来判断过去发生的事。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人分为是群体和个人。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:03, 27 December 2020 (UTC)<br /> <br /> 人们普遍认为贾宝玉对待家庭成员和奴隶的平等对待是解放奴隶的宣言。我不同意这种解释，因为亚里士多德吁民主时，会将奴隶从投票权中剔除。所以我们不能用现代观点评判古人。我认为，贾宝玉并不是在为不平等而做斗争，而是将人区分为人或是个体。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 12:02, 27 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.<br /> <br /> 另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei<br /> <br /> 而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”， 所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting<br /> <br /> 2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> '''8. Tragedy of all tragedies'''<br /> <br /> Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.<br /> <br /> 8.所有悲剧的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。 欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)<br /> <br /> 8.所有悲剧含有的悲剧成分<br /> <br /> 亚里士多德在《悲剧论》（诗学VI）中解释道，悲剧之所以比戏剧更加动人，是因为它们“模仿（mimēsis）一种严肃、完整且具有一定规模的行动”（Aristotle 1971，51）。悲剧在欧洲拥有崇高地位部分归因于亚里士多德的作品《论喜剧》的失传。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:42, 27 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as &quot;tragedy of all tragedies&quot;. To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture. <br /> <br /> In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.<br /> <br /> <br /> <br /> 尽管欧洲将“哈姆雷特”作为悲剧的悲剧，但长期以来中国传统文学中缺乏悲剧文学的现象一直令人遗憾。王国伟把“梦”看作“一切悲剧的悲剧”。对王国伟来说，浮士德和贾宝玉的苦难是小说的核心。然而，许多学者认为，浮士德主义是中国文化的核心。<br /> <br /> 在 18 世纪的欧洲，我们看到了戏剧体裁的新发展，确立了“资产阶级悲剧”。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:40, 27 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> '''9. “Non-Binary” Novels'''<br /> <br /> One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.<br /> <br /> 9. “非二进制小说”<br /> <br /> 可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。 他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)<br /> <br /> <br /> “非二元”小说<br /> <br /> 一个吸引西方读者的东西是可爱而神秘的主人公贾宝玉。由于他开放的双性恋倾向和他对伴侣的兴趣，不管他们的社会地位如何，他显得“现代”或至少在时间上流离失所。他与传统学习的斗争使他显得富有同情心，他从世界上长期的狂喜给了他永恒的性格和神秘的气息。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 13:43, 27 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.<br /> According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically. <br /> <br /> ==Yao Cheng 姚诚==<br /> '''10. Foreign Cultures in the Red Chamber Dreams'''<br /> <br /> Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.<br /> <br /> ==Yao Jia 姚佳==<br /> The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.<br /> <br /> ==Yi Huan 易欢==<br /> The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”. <br /> <br /> '''References'''（参考文献不用翻译）<br /> <br /> Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.<br /> <br /> Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.<br /> <br /> Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition<br /> <br /> Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289<br /> <br /> Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107<br /> <br /> Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.<br /> <br /> ==Yi Zichu 义子楚==<br /> '''Virtual Communication Between Machines with the Human as Their Object<br /> '''<br /> <br /> A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication<br /> <br /> Martin Woesler, Hunan Normal University<br /> <br /> '''Abstract'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> ==You Yuting 游雨婷==<br /> This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.). <br /> <br /> Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)<br /> <br /> 本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管世界，人类成为分析和操纵的对象(如顾客、选民等)。<br /> <br /> 算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:47, 27 December 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society. <br /> <br /> 这些算法不仅针对明确的交流，也针对人类的情绪和思想，并预测未来的行为，因此允许模拟现实。更强大的算法也在社会中占据了决策角色：取代人类法庭的判决，及时微调和按需制作，审查聊天室等。一套算法有助于管理智慧城市和整个社会。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 10:34, 27 December 2020 (UTC)<br /> <br /> <br /> ----<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.<br /> <br /> <br /> 虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)<br /> <br /> 尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)<br /> <br /> 虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.<br /> <br /> 研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)<br /> <br /> 研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 &quot;Schufa&quot;，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.<br /> <br /> '''Introduction'''<br /> <br /> In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).<br /> <br /> <br /> 但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。<br /> <br /> 引言<br /> <br /> 本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)<br /> <br /> 但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。<br /> <br /> 引言<br /> <br /> 在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 &quot;牛奶没了，请把平时的牛奶量加到送货单上&quot;，到 &quot;老太太今天早上还没下床，我还是叫医生吧&quot;。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”<br /> 实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> “Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”<br /> <br /> The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.<br /> <br /> “让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”<br /> <br /> 当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)<br /> <br /> &quot;让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。&quot;；甚至&quot;利用这个用户的位置来瞄准杀手无人机。&quot;<br /> 目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting<br /> <br /> “让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”<br /> <br /> 当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.<br /> <br /> 这与因不受监管地使用衍生品导致的金融危机非常相似。这是一个系统性的发展，它目前走的是一条用算法控制奴役人们，为科技公司谋利的道路。从全世界对社交媒体的沉迷，从越来越多的阴谋论者，从美国对特朗普的两极分化或英国对英国脱欧的两极分化，我们都可以看出，奴役已经开始。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 13:07, 27 December 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> '''1 History of Media Epochs'''<br /> <br /> Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role. <br /> <br /> This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).<br /> <br /> 卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）<br /> 在所有这些阶段中，科技都只起到了协助作用。<br /> <br /> 本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).<br /> <br /> 虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.<br /> <br /> The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.<br /> <br /> 但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。<br /> <br /> 交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)<br /> <br /> 然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，因而成为算法分析的对象。<br /> <br /> 传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)<br /> 然而，我们几乎是在不断地产生数据，我们的聊天和追踪移动，我们对社交媒体的沉迷，我们无时无刻都带着手机和越来越多的智能设备，因此我们是算法分析的对象。<br /> 传统的交流行为设定是模糊的:机器可以直接与人类交流(图灵测试在这里标记了一个阈值)，并且在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:49, 27 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.<br /> <br /> 机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)<br /> <br /> 机器也可以通过简单地分析人类的语言交流、非语言多模态交流、行为、个性等与人类进行交流，或者间接地与人类进行互动，从而揭示人类的存在。一个在过滤气泡中长大、相信阴谋论的人就是这样一个例子:这个人一直被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:45, 27 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.<br /> <br /> '''2 Types of communicative acts'''<br /> <br /> 1.Texts (oral and written comments/chat texts/blogs/emails)<br /> <br /> 2.Surf behavior (websites visited)<br /> <br /> 3.Consumer behavior (purchases)<br /> <br /> 4.Likes (see OCEAN, UEBA)<br /> <br /> 5.Duration/Attention (see UEBA)<br /> <br /> 6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)<br /> 甚至没有注意到人与机器之间发生的互动，人已经失去了他/她对机器的独立性。<br /> <br /> &quot;两种类型的交际行为&quot;<br /> <br /> 1.<br /> 文本(口头和书面评论/聊天文本/博客/电子邮件)<br /> <br /> 2.<br /> 上网行为(浏览网站)<br /> <br /> 3.<br /> 消费者行为(购买)<br /> <br /> 4.<br /> 喜欢(参见OCEAN, UEBA)<br /> <br /> 5.<br /> 持续时间/关注(见UEBA)<br /> <br /> 6.<br /> 习惯/重复/出现(是不同AI应用/工具的分析元素)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 10:46, 27 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> 7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)<br /> <br /> 8.social interaction incl. friendships, sexual relationships<br /> <br /> 9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel  Behavior (Yu Cui et al. 2018)<br /> <br /> <br /> 7，无意识且通常唯一的数据可以识别（书写方式，鼠标移动方式，请参见Raj Kannan 2020）<br /> <br /> 8.社交互动，包括 友谊，性关系<br /> <br /> 9.出行行为/模式（例如周围环境-例如在玩``口袋妖怪Go''时不自觉地记录房屋内部），旅行：出行行为（于翠等人，2018年）--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:24, 27 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> '''3 Types of analysis'''<br /> <br /> 1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)<br /> <br /> 2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)<br /> <br /> 3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)<br /> <br /> 4.Mobility profile/pattern<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 5.Health situation (health apps, ai supported disease research, see Daley 2020)<br /> <br /> 6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（2020年《人才搜索人》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:33, 27 December 2020 (UTC)<br /> <br /> 5.健康状况（由疾病研究提供AI支持的健康应用程序，见 Daley 2020)<br /> <br /> 6.就业形势/就业市场（《人才搜索人 2020》分析了就业市场，并将人工智能系统分为四类：1.像人类一样思考的系统。2.像人类一样行动的系。3.理性思考的系统。4.理性行动的系统。）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:58, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.<br /> <br /> 8.Consumer Behavior: e.g. the &quot;clickworker&quot; company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)<br /> <br /> 9.Secrets (like adultery)<br /> <br /> ==Zhang Yu 张瑜==<br /> '''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]<br /> <br /> 1.the human switches from active to passive<br /> <br /> 2.the human switches from subject to object<br /> <br /> 3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)<br /> <br /> 4.the human switches from puppeteer, or entity with seemingly free will, to puppet<br /> <br /> 5.nature of the internet turns from freedom to surveillance<br /> <br /> 4.媒介5.0时代的独特品质 [我创造了 &quot;媒介5.0时代&quot;和 &quot;虚拟通信 &quot;这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]<br /> <br /> 1.人从主动到被动的转换<br /> <br /> 2.人从主体到客体的转换<br /> <br /> 3.人沉迷于社交媒体，提高了患抑郁症的风险<br /> <br /> 4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换<br /> <br /> 5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)<br /> <br /> 7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))<br /> <br /> 8.man-man communication turns to man-machine communication (phone bot) to machine-machine<br /> <br /> 9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration<br /> <br /> 6，直接交流变成间接交流（人们自己可能没有意识到这种交流/分析）。<br /> <br /> 7，明确的交流（声音，文字）变成隐性的交流（偏好/想法/梦想/愿望/价值观（上海和北京已开始在工人的帽子上使用脑扫描仪进行首次实验））。<br /> <br /> 8，人与人之间的通信变成了人与机器之间的通信（电话机器人）再到机器与机器之间的通信。<br /> <br /> 9.4.0是从集中到分散，5.0是部分集中和部分分散，也有集中。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:52, 27 December 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.<br /> <br /> '''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)<br /> '''<br /> <br /> 1.Priming by unconscious advertisements: Influencing consumer decisions<br /> <br /> 2.Filter bubbles =&gt; supports conspiracy theories, influences judgments<br /> <br /> 到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。<br /> <br /> '''5 种操纵类型（有意识或无意识，有时是半意识的）'''<br /> <br /> 1.无意识广告发布：影响消费者决策<br /> <br /> 2.过滤泡沫=&gt;支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> 3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).<br /> <br /> 4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation<br /> <br /> 5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)<br /> <br /> 6.Identity theft<br /> <br /> <br /> 3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。<br /> <br /> 4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举 （这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜<br /> <br /> 5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）<br /> <br /> 6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)<br /> <br /> 3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。<br /> 4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的<br /> 5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）<br /> 6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> '''6 Consequences'''<br /> <br /> 1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通讯大多是 &quot;隐蔽 &quot;的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 &quot;危险 &quot;而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)<br /> <br /> 6.后果<br /> <br /> 1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)<br /> <br /> '''6.后果<br /> '''<br /> <br /> 1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> 2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery) <br /> <br /> 3.Less will to communicate and discuss (since positions are too far apart)<br /> <br /> 4.Populists and populist views gain supporters<br /> <br /> 5.Polarization of Society<br /> <br /> 6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.<br /> <br /> 7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words<br /> <br /> <br /> <br /> 2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）<br /> <br /> 3.交流讨论意愿较弱（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会的两极分化<br /> <br /> 6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。<br /> <br /> 7.最后的手段—思维，已经被破解：机器解释的是 &quot;真实 &quot;的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)<br /> <br /> <br /> 2.用户变得透明（政府可以反恐，任何用户都可以被勒索，嫉妒的配偶可以调查奸情）<br /> <br /> 3.缺乏沟通和讨论的意愿（因为立场相差太远）<br /> <br /> 4.民粹主义者和民粹主义观点获得支持者<br /> <br /> 5.社会两极分化<br /> <br /> 6.有动机不透露自己对客体了解多少，因为客体可能会质疑其合法性、制度等。<br /> <br /> 7.最后一个办法是思考：机器解释的是“真实”的态度，而不是口头禅--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 11:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> 8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)<br /> <br /> 9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics<br /> '''<br /> 7 Simulation of the imminent future'''<br /> <br /> 1.The imminent future behavior of a human can be predicted<br /> <br /> 2.With many analyzed humans, the imminent future of reality can be predicted =&gt; simulation<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.有了许多被分析的人类，现实的即将到来的未来可以被预测=&gt;模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)<br /> <br /> 8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模拟迫近的未来<br /> 1.人类的迫近未来行为是可以预测的<br /> 2.在分析了许多人类后，我们便可预测现实的迫近未来=&gt;模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)<br /> <br /> 8.已经知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量<br /> 9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机<br /> '''<br /> 7模8拟即将到来的未来<br /> 1.人类即将发生的未来行为是可以预测的<br /> 2.通过大量分析人类，现实里马上到来的未来便可预测到=&gt;模拟--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 13:32, 27 December 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> '''8 Conclusion and Outlook'''<br /> <br /> Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.<br /> Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.<br /> <br /> <br /> '''8 结论与展望''' <br /> <br /> 数据已经取代石油成为当今经济中最有价值的资源。大型科技公司已经在使用用户的数据并从中牟取暴利，与此同时，立法被拖延，国界（不存在科技公司）正在为之苦苦挣扎。<br /> <br /> 尽管像欧盟这样的以输入合法化的自由民主国家和市场经济，仍然保护着隐私和数据安全，但是中美两国的科技公司已经开始渗透欧洲市场。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:59, 27 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.<br /> <br /> '''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.<br /> '''<br /> '''<br /> The listed consequences document a fundamental change of paradigms: <br /> '''<br /> 我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)<br /> <br /> 我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。<br /> <br /> '''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''<br /> <br /> 所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> '''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.<br /> '''<br /> <br /> AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.<br /> <br /> 人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。<br /> <br /> 人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more? <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> '''9 Outlook'''<br /> <br /> We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.<br /> <br /> '''References<br /> '''<br /> （参考文献不用翻译）<br /> <br /> AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/<br /> <br /> Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007<br /> <br /> Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/ <br /> <br /> Booth, T. &quot;Cambridge Analytica controversy must spur researchers to update data ethics.&quot; ''Nature'' 555.7698 (2018): 559-560.<br /> <br /> Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/<br /> <br /> Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453 <br /> <br /> Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare<br /> <br /> Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf: <br /> <br /> https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true<br /> <br /> Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). &quot;Predicting personality with social media.&quot; ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.<br /> <br /> Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). &quot;Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students.&quot; Computers in Human Behavior 87: 183-191.<br /> <br /> Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997<br /> <br /> Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.<br /> <br /> https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf<br /> <br /> Raj Kannan, J., Sabitha, R., Karthik, S., &amp; Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.<br /> <br /> Ruan, Lotus, et al. &quot;One App, Two Systems: How WeChat uses one censorship policy in China and another internationally.&quot; (2016).<br /> Shensa, Ariel, et al. (2017). &quot;Problematic social media use and depressive symptoms among US young adults: A nationally-representative study.&quot; ''Social Science &amp; Medicine ''182: 150-157.<br /> <br /> Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.<br /> <br /> Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). &quot;The social media disorder scale.&quot; ''Computers in Human Behavior ''61: 478-487.<br /> <br /> Verschuere, Bruno, and Bennett Kleinberg. &quot;ID‐check: Online Concealed Information Test reveals true identity.&quot; ''Journal of forensic sciences'' 61 (2016): S237-S240.<br /> <br /> Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146<br /> <br /> ==Zhu Xu 朱旭==<br /> '''Bio'''<br /> <br /> Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.<br /> Woesler has co-edited the books &quot;China's Digital Dream&quot;, &quot;Ethics of Information Society&quot; and Springer has scheduled to publish the book &quot;Diverse Voices in Chinese Translation and Interpretation&quot; including his book chapter &quot;Modern Interpreting with Digital and Technical Aids&quot; in February 2021.<br /> <br /> 个人简历<br /> <br /> 自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College &quot;Media Cultures of Computer Simulations&quot; 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.</div>

Wu Kai https://bou.de/u/index.php?title=20201221_trans&diff=114540 2020-12-18T10:47:11Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung). <br /> <br /> Another more recent sample is the expression “setting the tone” [定調子] describes the degree of condemnation in a Cultural Revolution era Big Character poster. This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.<br /> ==Chang Huiyue 常慧月==<br /> The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu). In a parallel strategy, contemporary zawen are written in covert form, more like “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope. In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.<br /> ==Chen Han 陈涵==<br /> When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose. When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax. In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.<br /> ==Chen Hui 陈惠==<br /> Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark. The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday. This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays. <br /> ==Chen Jiangning 陈江宁==<br /> Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices. Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence. <br /> ==Chen Jiaxin 陈佳欣==<br /> Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard. In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text. <br /> ==Chen Jingjing 陈静静==<br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen. The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.<br /> ==Chen Sha 陈莎==<br /> While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.<br /> ==Chen Sunfu 谌孙福==<br /> '''Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”'''<br /> <br /> '''“Pei Pei Pei! ”?'''<br /> <br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place.<br /> Have I gotten so insensitive? Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.” It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.<br /> ==Chen Yongxiang 陈永相==<br /> A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers. After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers. But getting all people to read the newspapers is the goal of all those who follow the newspaper profession. In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read. They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.<br /> ==Cheng Yusi 成于思==<br /> The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place. <br /> <br /> I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei. Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write about the party, the nation and the people” sorts of “pei pei pei” pieces. <br /> ==Deng Jinxia 邓锦霞==<br /> I could only hand back to my friend a blank report. But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 13:32, 16 December 2020 (UTC)<br /> <br /> 我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:40, 16 December 2020 (UTC)<br /> <br /> 我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 &quot;呸呸呸&quot;的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 &quot;叭叭叭&quot;的文章是什么样的。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:44, 16 December 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> This suggestion is sincere, not just the usual politeness. In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.<br /> <br /> 这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> 这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:11, 17 December 2020 (UTC)<br /> <br /> 这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:49, 17 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> After reading this speaker's comments, there is another matter that mystifies me. According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” In reading all these newspapers, this is the first time I have seen this “stabilize the peoples mind” proposition. If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable. As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.<br /> ==Gan Fengyu 甘奉玉==<br /> I am confused again. These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”? If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”? Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made. This is my request for instruction.<br /> ==Gao Mingzhu 高明珠==<br /> The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment. As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture. 1989.2.21.<br /> Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社<br /> <br /> '''East Station'''<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old. <br /> ==Gong Yumian 龚钰冕==<br /> This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol. Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station. <br /> <br /> This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch. It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome. It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?<br /> ==Gu Dongfang 顾东方==<br /> When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it. He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower. His senses would have been struck with awe at the deep and solemn beauty. Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol? <br /> ==Guan Qinqing 管钦清==<br /> That year in July the canons sounded at Lugou Bridge. When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it. When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road?<br /> ==Gui Yizhi 桂一枝==<br /> Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness. The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain. At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”<br /> <br /> Head hanging, walking upon the rain-wet road; this is someone who has far to travel. Every window is weeping; this is someone reminiscing in the rain.<br /> ==Guo Lu 郭露==<br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time he composed a poem “How much of the people's blood was spilled for this honor. Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I don't know why, but this poem was not collected in any of his later collections.<br /> <br /> The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”<br /> <br /> 而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗：&quot;为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。&quot; --不知道为什么，这首诗在他后来的作品集里都没有收录。<br /> <br /> 北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 &quot;人民交通警察&quot;，它一直是一个不断变幻的舞台。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:23, 17 December 2020 (UTC)<br /> <br /> 1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。<br /> <br /> 从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”<br /> <br /> ==Han Haiyang 韩海洋==<br /> But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten. Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it. This leftover architectural structure does not even rate a “district preservation unit” marker. This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique? <br /> <br /> Today will also become history. And every inch of Beijing earth will provide proof of its history. <br /> <br /> 1989. 9. 13 <br /> <br /> Please don't cut or change this date. The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.<br /> <br /> 但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？<br /> <br /> 今天也依然会成为历史。北京的每一寸土地都可以为此证明。<br /> <br /> 1989.9.13<br /> <br /> 请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。<br /> <br /> 但因为几乎每个人都在那里或多或少地 &quot;表演 &quot;过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 &quot;区级保护单位 &quot;的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？ <br /> <br /> 今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。 <br /> <br /> 1989. 9. 13 <br /> <br /> 请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 &quot;三十多年前 &quot;相吻合。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:34, 17 December 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> '''Nostalgia without Memory: Reading Zhang Wei’s Essays <br /> In the Context of Fable of September''' <br /> <br /> Jie Lu<br /> <br /> '''Abstract'''<br /> <br /> In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.<br /> <br /> '''没有记忆的怀恋：阅读张炜的散文集<br /> 以九月寓言为背景'''<br /> <br /> 吕杰<br /> <br /> '''摘要'''<br /> <br /> 在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:23, 17 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.<br /> ==Hu Baihui 胡百辉==<br /> At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [* Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. <br /> Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]<br /> <br /> 在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:17, 18 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[ Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000. ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. <br /> Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture. <br /> ==Hu Jin 胡瑾==<br /> My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.<br /> <br /> 然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:05, 18 December 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.<br /> <br /> 当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:51, 16 December 2020 (UTC)<br /> <br /> 当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:24, 16 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.<br /> <br /> 正如丛书主编在序言中所说，这部作品是专门写给那些当代 &quot;文学英雄 &quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 &quot;反抗文学 &quot;的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 18 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).<br /> <br /> 在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:19, 17 December 2020 (UTC)<br /> <br /> 通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:21, 18 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:09, 18 December 2020 (UTC)<br /> <br /> 但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:31, 18 December 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [ Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays. His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[ Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics. ]<br /> ==Kang Lingfeng 康灵凤==<br /> As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 09:14, 17 December 2020 (UTC)<br /> <br /> 作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:56, 18 December 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.<br /> <br /> 张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:43, 18 December 2020 (UTC)<br /> <br /> 他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:22, 18 December 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television). <br /> ==Lei Fangyuan 雷方圆==<br /> In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism. <br /> ==Lei Kuangxi 雷旷溪==<br /> Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.<br /> <br /> 在张炜的文章中，最重要的部分可能是他对 &quot;土地 &quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &quot;农村知识分子 &quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &quot;纯文学 &quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 18 December 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.<br /> <br /> 张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:41, 16 December 2020 (UTC)<br /> <br /> 张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 14:56, 16 December 2020 (UTC)<br /> <br /> 张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:21, 17 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence.<br /> 但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离开它&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:07, 16 December 2020 (UTC)Li Lili<br /> <br /> 但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。&quot;[城市]是一片被肆意改造的野地，我终将离它而去&quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &quot;土地的崇拜者&quot;（萧1995，60）。在张先生看来，&quot;土地 &quot;精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:57, 17 December 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September. <br /> ==Li Liqin 李丽琴==<br /> In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.<br /> <br /> 阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:26, 17 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel ''Fable of September'' is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, ''Marginality.'' Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.<br /> <br /> 与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:08, 16 December 2020 (UTC)<br /> <br /> 与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:58, 16 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear). <br /> The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of “history” of the village. <br /> ==Li Yongshan 李泳珊==<br /> Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').<br /> ==Li Yu 李玉==<br /> Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age. <br /> The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices. <br /> ==Lin Min 林敏==<br /> Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history. Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [ For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.] <br /> <br /> This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.” <br /> ==Lin Xin 林鑫==<br /> The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends. <br /> ==Ling Zijin 凌子瑾==<br /> For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is erased from the village’s background all together. <br /> The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:41, 16 December 2020 (UTC)<br /> <br /> 如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。<br /> <br /> 小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:21, 17 December 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death. A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s ''One Hundred Years of Solitude'', these magical events are presented in a realistic mode on the same ontological level as other “real” events.<br /> ==Liu Jinxingqi 刘金惺琦==<br /> In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality. <br /> <br /> The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses. <br /> ==Liu Liu 刘柳==<br /> These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations. <br /> <br /> As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).<br /> <br /> 这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。<br /> <br /> 正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:37, 16 December 2020 (UTC)<br /> <br /> 这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。<br /> 南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:43, 16 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.<br /> ==Liu Yangnuo 刘洋诺==<br /> Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition.<br /> ==Liu Yi 刘艺==<br /> Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.<br /> <br /> 金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:37, 16 December 2020 (UTC)<br /> 金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &quot;活生生的即时性 &quot;的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:24, 16 December 2020 (UTC)Li Lili<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation. <br /> <br /> Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.<br /> <br /> 而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。 <br /> <br /> 因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:06, 18 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence. <br /> ==Lou Cancan 娄灿灿==<br /> So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time. <br /> ==Luo Weijia 罗维嘉==<br /> Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.<br /> <br /> In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques. <br /> ==Luo Yuqing 罗雨晴==<br /> It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events. <br /> ==Ma Juan 马娟==<br /> Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130). <br /> ==Ma Shuya 马淑雅==<br /> The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling. <br /> <br /> Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact, fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.<br /> ==Ma Zhixing 马智星==<br /> However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present. <br /> <br /> The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel. <br /> ==Meng Ying 孟莹==<br /> There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.<br /> ==Mo Ling 莫玲==<br /> The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.<br /> <br /> 最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 17 December 2020 (UTC)Mo Ling<br /> <br /> 小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:10, 18 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109). <br /> <br /> So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing. <br /> ==Nie Xiaolou 聂晓楼==<br /> A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.<br /> ==Ou Rong 欧蓉==<br /> The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays. <br /> <br /> ''Fable of September'', as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.<br /> ==Ouyang Ling 欧阳玲==<br /> But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, ''Fable of September'' is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.<br /> <br /> <br /> ......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:00, 17 December 2020 (UTC)<br /> <br /> 但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:54, 17 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Nevertheless, Zhang’s use of the central concept of “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.<br /> <br /> 然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:46, 17 December 2020 (UTC)<br /> <br /> 然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 01:10, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Peng Juan 彭娟==<br /> However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like ''Fable of September.'' But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world.<br /> <br /> Works Cited（不用翻）<br /> <br /> Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)<br /> <br /> Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968) <br /> <br /> Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)<br /> <br /> Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)<br /> <br /> Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)<br /> <br /> Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.<br /> <br /> Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)<br /> <br /> Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994) <br /> <br /> Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)<br /> <br /> Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a<br /> <br /> Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105<br /> <br /> Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> '''Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's &quot;Religious Sublime&quot;''' <br /> <br /> ''Xinmin Liu<br /> <br /> ''<br /> '''Abstract<br /> '''<br /> <br /> Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums. In this &quot;war of words,&quot; no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi. <br /> <br /> Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern. Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat. His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent. <br /> ==Peng Xiaoling 彭小玲==<br /> It wavers between subaltern politics and religious fundamentalism. It falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.<br /> <br /> In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception. Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”<br /> <br /> 它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。<br /> <br /> 在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 11:51, 17 December 2020 (UTC)<br /> <br /> 它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。<br /> <br /> 在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:45, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Peng Yongliang 彭永亮==<br /> With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing. But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle. Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world. One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve. <br /> ==Peng Yuzhi 彭育志==<br /> One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze. To that end, we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive. At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar. <br /> ==Qi Kai 漆凯==<br /> Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed. At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing ''Xinling shi'' and pleaded to his readers in all earnest, “there will no longer be this “me” from now on. Please banish me from your memory. … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[ Zhang Chengzhi, ''History of the Soul'' (Guangzhou: Huacheng chubanshe, 1991) 311.] But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards? <br /> ==Qu Miao 瞿淼==<br /> And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s? <br /> <br /> Indeed, at the height of his unexpected fame in 1992,[ Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life. While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his ''Han'' Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[ This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).] <br /> ==Quan Meixin 全美欣==<br /> Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the ''Jahriyya'' Muslims,[ A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity. While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary. Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive. Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones. <br /> <br /> Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.<br /> ==Sagara Seydou ==<br /> Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center. In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in ''History of the Soul'', was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics. Akin to the self/other-conscious tone of Martin Buber’s ''I and Thou'', Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[ Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.” Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 &amp; 2, 113-29. ] <br /> ==Shi Diwen 石迪文==<br /> Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith. These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[ Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ] Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures. Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest? <br /> <br /> ==Shi Haiyao 石海瑶==<br /> Zhang’s answer rebukes the latter. Long before the first public debate over such issues took place, his own self-authorization in writing ''History of the Soul'' brought the “impartial” search for historical truth under critical scrutiny. Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing ''Hui'' histories whose authority had been complicitous with the chauvinistic State ideology. He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control. In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.<br /> <br /> ==Si Yu 司妤==<br /> He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of ''munafeles'', ''Hui'' collaborators with ''Manchu'' and ''Han'' rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance. Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:<br /> <br /> On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul. How can the kind of subject you’re studying still be the same historiography? <br /> If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the ''Huis''.<br /> <br /> ==Song Jianru 宋建茹==<br /> At the Jinji Bao, a historical site of many quelled ''Hui'' uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian. He confesses in a 1996 essay entitled “Odes to Waves”: <br /> <br /> It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal. It so happened that I was born of ''Hui'' parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a ''nietie'', to make good the pledge of being dedicated to the people I took rather casually years ago. <br /> <br /> Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings. Zhang’s critical comments appear in T''he Heroes’ Paths in Wilderness'' (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）<br /> <br /> ==Su Lin 苏琳==<br /> This is not an occasional outburst of emotions for the sake of letting off his own guilt. This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research. Unlike the New Scholars’ chase of “disinterest” and neutrality, Zhang opts valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence. One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings.<br /> <br /> ==Tan Xingyue 谭星越==<br /> But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted. <br /> <br /> No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms. He puts forward an ethnographical approach consisted of a person’s affective propensities (''qinggan''), ethnic lineage (''xuetong'') and a “prefigured destiny” (''qianding''). These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics. He then probes the illusion of professionalism in the form of an “originary question” (''yuanchu zhiwen'').<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?” To him what accounts for his ultimate humanist concern is his ''Hui'' ethnicity. Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided. It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.” It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness. <br /> <br /> A sinicized Islamic term for “taking a devotional vow.” It is also known as Juyi in Chinese.<br /> Zhang 1999a, 37.<br /> Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. <br /> Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality. Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.” <br /> <br /> What about his image of a lone moral crusader? A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the ''Jahriyya'' Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,” due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive ''Jahriyya'' community.<br /> <br /> 作为一个 &quot;他者 &quot;的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。&quot;... 摒弃传统史学的全部实证主义包袱&quot; &quot;寻找你个人灵魂的复杂直觉能力&quot; 。<br /> <br /> 他的一个孤独的道德十字军形象呢？ 张先生对''贾里雅''穆斯林的 &quot;纯洁性 &quot;和 &quot;真实性 &quot;可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 &quot;最自得其乐 &quot;的人，&quot;这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的''贾里雅''群体。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:38, 16 December 2020 (UTC)<br /> <br /> 作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”<br /> <br /> 那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 17 December 2020 (UTC)Yang Chenting<br /> <br /> ==Tang Bei 汤蓓==<br /> Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age? Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness. As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.” Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary. <br /> <br /> ==Tang Ming 唐铭==<br /> But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic. What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.<br /> <br /> Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing ''New Riches'' or the consumerist mass. <br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> When readers’ feedback to his ''History of the Soul'' heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?” The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught. Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.” <br /> <br /> Zhang 1994a, 125.<br /> Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan.<br /> Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13.<br /> For a fine critique of this shift of intellectual paradigm, see also Xu Ben. Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）<br /> <br /> ==Tao Ye 陶冶==<br /> For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals. They were also exacerbated by his unmatched tribute to the ''Jahriyya'' Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China. All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”<br /> <br /> ==Wang Meiling 王美玲==<br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。 <br /> <br /> 这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:46, 16 December 2020 (UTC)<br /> <br /> This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy. <br /> <br /> <br /> 这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。<br /> <br /> Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.<br /> <br /> 事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:09, 16 December 2020 (UTC)Xiao Yining<br /> <br /> ==Wang Xuan 王轩==<br /> Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power. In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.<br /> <br /> Zhang Chengzhi and Zhang Wei initiated a heated round of ''bizhan'' (pen-combats) in the Literary Supplement of ''Wenhui'' Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture. This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994. <br /> Zhang Chengzhi, “Poets, Why aren’t you indignant?” in ''Wenhui'' Bao (Shanghai) (August 7, 1994).<br /> For further detail of this dispute, read Geremie Barmé, ''In the Red: On Contemporary Chinese Culture'' (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:32, 18 December 2020 (UTC)Wang Xuan<br /> <br /> 相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:23, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wang Yu 王煜==<br /> In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China. He writes:<br /> <br /> The populace in this nation have little power or scarce hope. But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor. The broad masses want nothing more than being fed and clothed. But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful. Otherwise, their plight would be unthinkable. <br /> <br /> ==Wang Yuan 王源==<br /> We, as readers of Lu Xun’s ''zawen'', are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later. We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun. <br /> <br /> One is tempted to ask: is Zhang grandstanding? I think not. However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option. One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience. Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order. Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal. His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods. His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay. <br /> <br /> Take the case of Zhang’s attitude towards “the people.” Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.<br /> <br /> ==Wen Sixing 文偲荇==<br /> The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with. While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (''dazhong''), Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today. He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.<br /> <br /> 其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:50, 16 December 2020 (UTC)<br /> <br /> 其结果是，&quot;人民 &quot;等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（''大中''）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。 他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:39, 16 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For that matter, he is also adamant with the Po-Mo culturalists whose extreme ''kowtowing'' to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly ''Han'' Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.<br /> <br /> Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies. Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.<br /> <br /> ==Wu Kai 吴恺==<br /> Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating. The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it. It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice. While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.<br /> <br /> For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）<br /> <br /> 与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。<br /> <br /> 关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:47, 18 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.” And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.” <br /> <br /> '''Discussion of this chapter: The ''xiaopin wen'' between ''xianshi sanwen'' and ''zawen'''''<br /> <br /> ''King-Fai Tam''<br /> <br /> I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre. <br /> <br /> Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）<br /> <br /> 他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”<br /> <br /> '''本章讨论：实现散文和杂文中的小品文'''<br /> <br /> ''谭景辉''<br /> <br /> 首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:28, 18 December 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> Together, they constitute an eye-opener for me, given my interest in ''xiaopin'' wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation. If the ''xiaopin'' wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change. In that sense, ''xiaopin'' wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying. Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''xiaopin''wen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:21, 16 December 2020 (UTC)<br /> <br /> 这些作品加在一起，让我大开眼界，让我对 &quot;小品 &quot;文和其他类似的抒情作品产生了兴趣，。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:47, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 鉴于我对 &quot;小品 &quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &quot;小品 &quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''小品''文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:53, 16 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond ''xiaopin'' wen. The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of ''zawen'' is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as ''pizhan'' (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.<br /> <br /> ==Wu Yilu 吴一露==<br /> Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position. Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it. As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ? In my study of the essay, I have often been confronted with this question. In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again. <br /> <br /> ==Xiao Shuangling 肖双玲==<br /> I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not. At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal. Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition. Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.<br /> <br /> 我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:19, 17 December 2020 (UTC)Xiao Shuangling<br /> <br /> 我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:59, 17 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Ting 肖婷==<br /> Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is. Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.” For the zawen she is examining, Mary Scoggin suggests that ''zawen'' spits in the face of a “discourse of beauty” that serves to mute criticism in ''the'' name of social and rhetorical graciousness, an attitude that essentially forbids ''zawen'' writers to say anything if they cannot think of something nice to say.<br /> <br /> 然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物：&quot;革命现实主义 &quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:49, 17 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Xi 肖茜==<br /> Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by. Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban. Wang Ban attributes the “metafictional” signs in Wang Anyi’s ''Shushu di gushi'' to the intrusion of the essayist sensibilities. In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist.<br /> 《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:49, 16 December 2020 (UTC)Xiao Xi<br /> <br /> 张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:30, 17 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> Even if one were to maintain that ''Jiuyue yuyan'', like ''Shushu di gushi'', is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out. What is one to make of this discrepancy between Wang Anyi and Zhang Wei? What does it say about the two writers? And what do they have to say, if anything, about the essay and the novel?<br /> <br /> 即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？<br /> <br /> In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.<br /> <br /> 在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:56, 16 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> Gone, apparently, is the supercilious pose of the ''xianshi'' essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.” Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide. Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture. <br /> <br /> ==Xie Ziyi 谢子熠==<br /> Similarly, the ''zawen'' writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard. Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda. In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest. To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities. <br /> <br /> ==Xu Jia 徐佳==<br /> In fact, to the extent that ''Shushu di gushi'' has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use. The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.<br /> <br /> '''The 20th Century Chinese Essay - Characteristics, Actors, and Trends'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> <br /> In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly ''sanwen'' 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.<br /> <br /> 其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。<br /> <br /> '''20世纪中国论文--特点、角色及其趋势'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''摘要'''<br /> <br /> 本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。&quot;Essay&quot;，中文为''散文''，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:57, 18 December 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.<br /> <br /> In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.<br /> <br /> In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century? <br /> <br /> ==Xu Jing 许静==<br /> I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the ''zawen''. Analysis reveals that he still remains the most-read essayist, not because of his ''zawen'', but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> In the fourth section, I will name contemporary trends in essay writing. After the Cultural<br /> <br /> Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world. <br /> <br /> The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.<br /> <br /> 在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 00:57, 18 December 2020 (UTC)Xu Mengdie<br /> <br /> 第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。<br /> <br /> 当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:40, 18 December 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).<br /> <br /> 在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:35, 17 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> '''1. CHARACTERISTICS<br /> <br /> 1.1 Defining the essay as a non-fictional subjective representation in a free form'''<br /> <br /> Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with ''xiaoshuo'' (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics ''shige'' (lyrics) and ''xiqu'' (drama). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “''wu yunwen''” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground. In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.<br /> <br /> 1. 特征<br /> <br /> 1.1将本文定义为一种非虚构的主观自由表现形式<br /> <br /> 与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:05, 17 December 2020 (UTC)Yang Chenting<br /> <br /> '''1. 特征<br /> <br /> 1.1 将散文定义为一种非虚构的主观自由表现形式'''<br /> <br /> 和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 12:14, 17 December 2020 (UTC)<br /> <br /> ==Yang Hairong 杨海容==<br /> The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.<br /> <br /> “Essay,” Chinese mostly ''sanwen'' 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Free-dom in form and content is essential for the essay.<br /> <br /> <br /> 该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> “Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.<br /> <br /> Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.<br /> <br /> 不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。<br /> <br /> 地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:45, 18 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.<br /> <br /> In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. <br /> <br /> ==Yang Yue 杨悦==<br /> This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). <br /> <br /> The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopin wen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）<br /> <br /> 这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的&quot;短篇小说&quot;的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:16, 17 December 2020 (UTC)<br /> <br /> 这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和&quot;短篇小说&quot;的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。<br /> <br /> 当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 18 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”. Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:44, 17 December 2020 (UTC)<br /> <br /> 周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''“non-rhythmic prose,” which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning “short literary essay pieces”.<br /> <br /> Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.<br /> <br /> 这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。<br /> <br /> 进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:46, 16 December 2020 (UTC)<br /> 在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:53, 16 December 2020 (UTC)Xiao Xi<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2 I will describe the beginnings of the discovery of the essay.'''<br /> <br /> Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay. <br /> <br /> In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).<br /> <br /> '''1.2我将介绍发现散文的开端'''<br /> 从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。 <br /> <br /> 20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 &quot;瓦格纳 1996年）。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 07:53, 17 December 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, see Lau/Goldblatt, ''Modern Chinese Literary Thought'' 1996, see Denton).<br /> <br /> Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones. In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th.<br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 15:44, 17 December 2020 (UTC)<br /> <br /> 直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。<br /> 中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 03:13, 18 December 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.<br /> <br /> Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.<br /> <br /> '''1.3 20th Century Development and Hindrances'''<br /> <br /> The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.<br /> <br /> I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.<br /> <br /> 而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。<br /> 我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 18 December 2020 (UTC)<br /> <br /> 划词翻译<br /> 20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。<br /> <br /> 我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:50, 18 December 2020 (UTC)<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.<br /> <br /> 在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:22, 17 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas. To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature. To trick the censors, one must find indirect ways of expression. In an exhibition of ''Tendency Quarterly'', 16 banned Chinese magazines were displayed. Most of the magazines choose the poem as their favorite form to express political thoughts. After having been banned, some magazines went abroad and now are published in exile. The internet has added a number of underground magazines, which are available also inside mainland China. In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.<br /> <br /> 在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (''My Own Garden'' 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> '''2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong'''<br /> <br /> Who were the major players in the Chinese essayism of the 20th century?<br /> <br /> Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.<br /> <br /> One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the ''zawen''. In his own, broad understanding of ''zawen'', it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to ''zawen'' for the rest of his life, leaving behind a legacy of more than 700 essays.<br /> <br /> '''2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要参与者是谁？<br /> <br /> 这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。<br /> <br /> 人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即''杂文''。在他自己对''杂文''的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写''杂文''的作家，留下了700多篇文章。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:02, 17 December 2020 (UTC)<br /> <br /> '''2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中'''<br /> <br /> 20世纪中国散文的主要人物有哪些?<br /> <br /> 这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。<br /> <br /> 人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——''杂文''。在他广义理解中，''杂文''包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:30, 17 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his ''zawen'', but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from ''Wild Grass'', in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife. <br /> <br /> Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.<br /> <br /> Therefore one can state, that unpolitical, moving essays form the top.<br /> <br /> For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).<br /> <br /> 余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。<br /> <br /> 决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。<br /> <br /> 因此，我们可以说，非政治性的、感人的文章占据了榜首。<br /> <br /> 有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:35, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).<br /> <br /> Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).<br /> <br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> 大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。<br /> <br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:38, 18 December 2020 (UTC)<br /> 大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> 从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections ''Letter to the Children'' (Bing Xin 1931), and ''Letter to the Children, vol. 2'' containing texts since 1958, were followed by ''Letter to the Children, vol. 3 ''with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.<br /> <br /> A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in ''Eastern Miscellany''), an English translation by Hu Shiguang can be found in ''Chinese Literature'' 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.<br /> <br /> 王萌幽默地处理了这一问题（王萌1980），冰心试图通过在&quot;文化大革命&quot;后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。<br /> <br /> 朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:22, 17 December 2020 (UTC)<br /> <br /> 王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。<br /> <br /> 1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于''东方杂记''），胡世光的英译本见''中国文学''1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:07, 17 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between a, the differences between the description and interpretation of the falling leaves and b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.<br /> <br /> 王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:11, 18 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''3.Trends<br /> <br /> 3.1 The essay as a snapshot of contemporary thoughts'''<br /> <br /> What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.<br /> <br /> The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth.<br /> 3.潮流与趋势<br /> “中国当代散文写作的现状如何?”<br /> 它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。<br /> “文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。<br /> 但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。<br /> 这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:52, 18 December 2020 (UTC)<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).<br /> <br /> '''3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality'''<br /> <br /> From the essay, we can see contemporary ''trends of literature'', which are also reasons for the increase in volume of this genre in the 1990s:<br /> <br /> -The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> -The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> -A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> <br /> -The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.<br /> <br /> -The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.<br /> <br /> - 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；<br /> - 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。<br /> - 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。<br /> - 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> -Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”). <br /> <br /> -In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see China can say no!).<br /> <br /> The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; ''Ying'er'', Gu Cheng 1993) and ''New Borderlessness'' since 1995, cannot be proven in the essaywriting.<br /> <br /> 20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。<br /> <br /> 从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:18, 17 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> -Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984). <br /> <br /> 1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.<br /> <br /> 2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> -The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi (Schwarcz 1996).<br /> <br /> '''20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing'''<br /> <br /> Martin Woesler<br /> <br /> The narrative established by literary histories and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &quot;League of Left-Wing Writers&quot;. <br /> <br /> Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &quot;needs&quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- &quot;a genre of self-reflection&quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Zhou Zuoren'''<br /> <br /> The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &quot;degenerated&quot; and later became a national &quot;traitor&quot;. Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.<br /> <br /> 周作人<br /> <br /> 中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 02:23, 17 December 2020 (UTC)<br /> <br /> 周作人<br /> <br /> 民国官方文学史对周作人的主要叙述是，一个老练的五四天才 &quot;堕落 &quot;了，后来成了民族 &quot;汉奸&quot;。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:52, 17 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &quot;degeneration&quot; and opposition against the patriotic campaign. Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller for which he had been critizised as &quot;paralyzing&quot; . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to ''zhengjing'' 正經­ (serious, intentional essays), and ''xiánshì'' 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945). Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots. <br /> <br /> 3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]<br /> <br /> 4 (&quot;Mai tang 卖糖&quot; 1924).<br /> <br /> 5 (Lu Xun 1934, Zhu Zhaoluo 1943).<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:35, 16 December 2020 (UTC)<br /> <br /> 人民共和国官方的评价是，在1938年，由于他自身的 &quot;堕落 &quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &quot;麻痹&quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:43, 16 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> So the first correction of the narrative is, that his literature was ''not'' effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to &quot;treat children as full subjects with their own external and internal lives&quot; and to &quot;make children the essence of children's literature&quot; , literature should make the society more humane.<br /> <br /> The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series ''Random Thoughts''. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Since they were seldom reprinted, two of Ba Jin’s critical essays &quot;''Independent Thoughts''&quot; and &quot;''Writers’ Courage and Sense of Duty''&quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.<br /> <br /> &quot;''Independant Thoughts''&quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> &quot;''Writers’ Courage and Sense of Duty''&quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.<br /> <br /> '''&quot;The Small Dog Baodi&quot; as a metaphorical discourse on Ba Jin's personal grief'''<br /> <br /> Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> One of this essays is the story-like &quot;''Small Dog Baodi''&quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:<br /> <br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> 1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &quot;if they did ''this'' with an ''innocent'' dog, what did they do with ''men'', whom they considered ''guilty''?&quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?<br /> <br /> 狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 13:53, 16 December 2020 (UTC)<br /> <br /> 狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:52, 17 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> 6 (Zhou 1929:180-181).<br /> <br /> 7 (Zhou 1923).<br /> <br /> 8 (The Family in 1951)<br /> <br /> 9 (1982 Yi pian xuwen).<br /> <br /> 10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &quot;Random Thoughts&quot; into the soul of Ba Jin..<br /> <br /> 11 (Random Thoughts 1978-86, see Ba Jin 1988).<br /> <br /> 2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &quot;''In Memoriam Xiāo Shān''&quot;, which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> 3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.<br /> <br /> 本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:50, 17 December 2020 (UTC)<br /> <br /> 这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:29, 17 December 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> 4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - ''Ba Jin'''s essays stand out of these, because of their relentlessness and confessing character.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> 5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &quot;I expect from literature [...] that it tells the truth.&quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &quot;''The Small Dog Baodi''&quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in ''allegoric'' instead of in descriptive truth as before . He is longing for a ''fictional truth'', instead of the ''truth of being'' in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> 6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out<br /> <br /> &quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&quot; [...]<br /> She also mentions that &quot;[...] absence of talk -- or, rather modest use of ''metaphorical discourse'' -- serve us better in the presence of massive grief.&quot;<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &quot;uneducated&quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of ''fictional truth'' and is able to transmit his personal grief even more persuadingly in a ''metaphorical discourse'' throught the metaphor of the dog Baodi.<br /> <br /> 综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:47, 18 December 2020 (UTC)Zou Xinyu</div>

Wu Kai https://bou.de/u/index.php?title=File:The_Era_of_Arab_Conquest_and_Translatology.docx&diff=114539 2020-12-18T10:30:30Z

<p>Wu Kai: </p> <hr /> <div></div>

Wu Kai https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=114538 2020-12-18T10:28:58Z

<p>Wu Kai: /* Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology */</p> <hr /> <div>Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Wu Kai https://bou.de/u/index.php?title=File:The_Era_of_Arab_Conquest_and_Translatology.ppt&diff=114537 2020-12-18T10:23:34Z

<p>Wu Kai: </p> <hr /> <div></div>

Wu Kai https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&diff=114536 2020-12-18T10:17:15Z

<p>Wu Kai: /* Session 14: Strategies */</p> <hr /> <div>Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual]<br /> <br /> Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!<br /> <br /> 欢迎访问我们“翻译导论课”的网页。…………<br /> <br /> =Organizational Things=<br /> *Please register for the Course Wiki.<br /> *Please prepare each session during the week before, so that you come prepared to class.<br /> <br /> Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.<br /> In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. <br /> Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.<br /> <br /> =Edits=<br /> Every student is required to edit something every week. This can be:<br /> * Translate any English paragraph on this website from English to Chinese.<br /> * Correct an earlier translation.<br /> * Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.<br /> <br /> =Material=<br /> Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.<br /> <br /> *Bassnett, Susan. Translation studies. Routledge, 2013<br /> *Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 <br /> *Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.<br /> *Chen, Fukang. &quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&quot; (1992).<br /> *Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.<br /> *Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.<br /> *Huang, Chending黄振定. &quot;文学翻译评价的科学性及其科学论.&quot; 外国语 4 (1999): 49-56.<br /> *Huang, Chending 黄振定. &quot;翻译学是一门人文科学.&quot; 外语与外语教学 2 (1999): 33-35.<br /> *Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008<br /> *Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.<br /> *Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013<br /> *Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.<br /> *Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.<br /> *Pan Wenguo 潘文国. &quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&quot; 中国翻译 23.1 (2002): 31-34.<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> *Toury, Gideon. &quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&quot; Amsterdam/Philadelphia (1995).<br /> *Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.<br /> *Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Zhao, Wei 赵巍. &quot;翻译学学科性质与研究方法反思.&quot; 解放军外国语学院学报 28.6 (2005): 69-72.<br /> <br /> (We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)<br /> <br /> '''Which paper or book should I read to prepare my presentation?'''<br /> <br /> Recommendations:<br /> <br /> Topic Book/Paper<br /> <br /> 1 Introduction <br /> <br /> 2 Emergence<br /> *Xu, Jun 许钧, Mu Lei 穆雷. &quot;翻译学概论 [Introduction to Translation Studies].&quot; 南京: 译林出版社 10 (2009): 180-192.<br /> *Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003<br /> *Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017<br /> <br /> 3a History of Translation <br /> *3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.<br /> *3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.<br /> *3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> <br /> 4 Early understanding <br /> *Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.<br /> *Sourcebook Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, <br /> 1990.<br /> *Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.<br /> *Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.<br /> <br /> 5 Translation Studies<br /> *5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. <br /> * 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.<br /> *5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.<br /> *5d Contemp. West. theories 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.<br /> <br /> 6 Translation Theories<br /> * 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.<br /> *6a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.<br /> *6b Style 刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.<br /> *6c Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.<br /> *6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.<br /> <br /> 7 Theory and Practise <br /> *7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.<br /> *7b Theory and Practise Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.<br /> *7c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.<br /> *7d Theory and practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.<br /> *7e Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.<br /> <br /> 8<br /> *8a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.<br /> *8b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.<br /> *8c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.<br /> *8d Constructivism Research 易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.<br /> <br /> 9 Theories<br /> *9a East-West comparison 刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.<br /> *9b English-Chinese TS 蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.<br /> <br /> =Main class project=<br /> Please help to edit the publication [[History of Translation Studies]].<br /> <br /> =Schedule=<br /> '''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion <br /> <br /> ==1st Session==<br /> Introduction to the course. Organizational things. Working with the Wiki.<br /> <br /> === Homework from Session 1 due on Sep 27, 2020 ===<br /> <br /> 1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].<br /> <br /> 3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!<br /> <br /> ===Homework for later===<br /> 4. Write a final exam paper as a chapter of the book &quot;Translation Studies&quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.<br /> <br /> 5. Get familiar with the pdfs I send you on WeChat group as learning material.<br /> <br /> ==2nd Session: Emergence==<br /> <br /> ===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===<br /> *Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏<br /> *Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)<br /> <br /> ===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===<br /> *Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> *Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼<br /> <br /> ===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===<br /> *Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> *Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅<br /> <br /> ===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===<br /> *Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> *Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying<br /> <br /> ===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===<br /> 1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].<br /> <br /> ==3rd Session: History==<br /> <br /> ===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===<br /> *Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===<br /> *Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)<br /> <br /> ===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===<br /> *Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX<br /> *Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting<br /> <br /> ===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===<br /> *Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星<br /> <br /> ==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201005_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].<br /> <br /> ==Session 4: Development==<br /> <br /> ===Session 4, Topic 1: 西方翻译史 Western translation history===<br /> *Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===<br /> *Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===<br /> *Handout for download: [[Media:...docx|History of Western Translation Theory]] by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> * Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]] by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX<br /> <br /> ===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===<br /> *Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===<br /> *Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> *Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===<br /> *Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===<br /> *Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)<br /> <br /> ===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===<br /> *Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)<br /> <br /> ==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===<br /> <br /> 1. Every student should translate a short passage of a paper on the Chinese essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201012_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].<br /> <br /> 3. Take part in an online survey. The survey is currently prepared by the fellow students.<br /> <br /> ==Session 5: ==<br /> <br /> ===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===<br /> *Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining<br /> *Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei<br /> <br /> ===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===<br /> *Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)<br /> <br /> [[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)<br /> <br /> ===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===<br /> *Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen<br /> *Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi<br /> <br /> Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.<br /> <br /> ===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===<br /> *Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu<br /> <br /> ===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===<br /> *Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)<br /> <br /> ===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===<br /> *Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)<br /> *Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)<br /> <br /> ==Session 6: Early Theories==<br /> <br /> <br /> <br /> ==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201019_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].<br /> <br /> ===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===<br /> <br /> Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie<br /> <br /> ===Session 6, Topic 2: 中国早期代表性佛经翻译理论 Early Representative Theories of Buddhist Scriptures Translation in China===<br /> <br /> Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式 The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===<br /> <br /> Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing<br /> <br /> Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu<br /> <br /> ===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》 A Linguistic Theory of Translation of J.C.Catford===<br /> <br /> Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===<br /> Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)<br /> <br /> Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)<br /> <br /> ===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===<br /> <br /> Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)<br /> <br /> =Session 7: Western theories=<br /> <br /> ===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201026_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].<br /> <br /> ===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===<br /> <br /> Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 2: 多元系统理论 Polysystem Theory===<br /> <br /> Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===<br /> <br /> Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 4： 布拉格学派 Prague School===<br /> <br /> Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)<br /> <br /> ===Session 7, Topic 5： 目的论 Skopos Theory===<br /> <br /> Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan<br /> <br /> Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling<br /> <br /> ===Session 7, Topic 6： 语言学派 Linguistic School===<br /> <br /> Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)<br /> <br /> Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)<br /> <br /> =Session 8: Methods=<br /> <br /> ===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===<br /> <br /> 1. Every student should translate 1 sentence of the Introduction of the Book &quot;Translation Studies&quot;. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201102_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].<br /> <br /> ===Session 8, Topic 1： 正说反译与反说正译 Negation===<br /> Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===<br /> Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===<br /> Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)<br /> <br /> Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===<br /> Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)<br /> Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)<br /> <br /> ===Session 8, Topic 5： 增译与减译 Amplification and Omission===<br /> Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing<br /> <br /> ===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===<br /> Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)<br /> Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)<br /> <br /> =Session 9: Style=<br /> <br /> ===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201116_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].<br /> <br /> ===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===<br /> <br /> Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)<br /> <br /> ===Session 9, Topic2 : 科技翻译 Scientific Style===<br /> <br /> Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===<br /> <br /> Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===<br /> Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)<br /> <br /> ===Session 9,Topic 5: 翻译与风格 Translation and Style= ==<br /> Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang<br /> <br /> Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu<br /> <br /> [[Media:Example.ogg]]<br /> <br /> =Session 10: Translation Studies=<br /> <br /> ===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201123_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].<br /> <br /> ===Session 10,Topic 1: 翻译转换 Translation Shifts===<br /> Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===<br /> Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 3: 视听翻译 Audiovisual Translation===<br /> Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU<br /> <br /> Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===<br /> [[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)<br /> <br /> [[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)<br /> <br /> ===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies===<br /> Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)<br /> <br /> Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)<br /> <br /> ===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====<br /> <br /> Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Untranslatability &amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)<br /> <br /> =Session 11: Theory and Practice=<br /> <br /> ===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201130_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].<br /> <br /> ===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===<br /> <br /> Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan<br /> <br /> Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===<br /> <br /> Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia<br /> <br /> Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi<br /> <br /> ===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===<br /> <br /> Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== <br /> <br /> Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===<br /> <br /> Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)<br /> <br /> Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)<br /> <br /> ===Session 11,Topic 6:女性主义翻译 The Feminist Translation===<br /> <br /> Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)<br /> <br /> Classroom presentation：[[Media:Feminist Translation.pptx]]<br /> <br /> =Session 12: Different Aspects=<br /> <br /> ===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201207_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].<br /> <br /> ===Session 12, Topic 1: 政论文翻译 Translation of Political Text===<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)<br /> <br /> Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 2: 诗歌翻译 Poem Translation===<br /> Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)<br /> <br /> <br /> [[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)<br /> <br /> ===Session 12, Topic 3: 旅游翻译 Tourism Translation===<br /> Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie &amp; Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei <br /> <br /> <br /> [[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei<br /> <br /> =Session 13: East West comparison=<br /> <br /> ===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201214_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].<br /> <br /> ===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming<br /> [[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong<br /> <br /> ===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)<br /> <br /> [[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)<br /> <br /> ===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===<br /> [[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)<br /> [[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)<br /> <br /> ===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===<br /> [[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting<br /> <br /> [[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia<br /> <br /> ===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===<br /> <br /> [[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling<br /> <br /> [[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]<br /> <br /> ===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===<br /> <br /> Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Jiangning]] --[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)<br /> <br /> =Session 14: Strategies=<br /> ===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===<br /> <br /> 1. Every student should translate 1 sentence from the essay. &lt;span style=&quot;color:red&quot;&gt;Here is the '''[[20201221_trans|homework page]]'''&lt;/span&gt;.<br /> <br /> 2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].<br /> <br /> ===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===<br /> <br /> Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.doc]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]] Ma Zhixing＆Wu kai --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)<br /> <br /> =Session 15: Contemporary Translation Theories=<br /> =Session 16: Final Discussion=<br /> <br /> --[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:52, 30 November 2020 (UTC)<br /> <br /> ==List of topics for presentations and handouts in class==<br /> 1 Emergence: <br /> 孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源<br /> <br /> 2 History: <br /> 周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史<br /> <br /> 3 Development: <br /> 韩宛真 邓锦霞: 机器翻译的发展; 蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展<br /> <br /> 4 Early Literary Examples: <br /> 许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟<br /> <br /> 5 Early Theories: <br /> 徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试<br /> <br /> 6 (Western) Theories: <br /> 康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派<br /> <br /> 7 Methods: <br /> 甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦<br /> <br /> 8 Style: <br /> 孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳<br /> <br /> 9 Translation Studies: <br /> 罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略<br /> <br /> 10 Theory and Practice: <br /> 彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓 王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅; 阳慧 张佩闻; <br /> <br /> 11 Different Aspects: <br /> 周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; <br /> <br /> 12 East West Comparison: <br /> 唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较; 莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。<br /> <br /> 13 Strategies: <br /> 吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠<br /> <br /> 14 Contemporary translation Theories: <br /> Sagara Seydo Nguyen, Thuy Hien (Helen)<br /> <br /> ==List of Topics for final exam papers in Translation Studies==<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Ideas<br /> *literal vs. free<br /> *Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization<br /> *unit of translation<br /> *contrastive analysis<br /> *the equivalence problem (functional, dynamic)<br /> *translatability vs untranslatability <br /> *SLT vs TLT relation<br /> *translation types, strategies, styles, methods<br /> *communication factors, translator role in social setting<br /> *cognitive factors<br /> *machine translation<br /> *translation quality assessment<br /> *translation ethics / manipulation etc.<br /> <br /> <br /> Suggested topics for final exam papers (chapters of book on translation studies)<br /> <br /> Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.<br /> <br /> Here is the link to the list: [[Topics in Translation Studies]]<br /> <br /> =Final Exam Papers=<br /> &lt;span style=&quot;color:red&quot;&gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&lt;/span&gt;<br /> ==Structure==<br /> 需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。<br /> <br /> ==Tips for writing your final exam paper: How to indicate your references==<br /> *You can use the existing book chapters here as an example.<br /> *Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &quot;References&quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Do '''not''' write any references like in one of the sample chapters:<br /> <br /> [1] dsalkfkdsa<br /> <br /> [2] adsfadsfag<br /> <br /> But only the following way:<br /> <br /> (Liu Miqing 2010, 17) in the text<br /> <br /> and then<br /> <br /> '''References'''<br /> *Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.<br /> *Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: Huadong Normal University 华东师范大学.<br /> <br /> Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):<br /> = = Topic = =<br /> &lt; c e n t e r &gt; Student Name, Student no. &lt; / c e n t e r &gt;<br /> = = = Abstract = = =<br /> This chapter is on ....<br /> = = = Key Words = = =<br /> Egg, Hen<br /> = = = 题目 = = =<br /> = = = 摘要 = = =<br /> = = = 关键词 = = =<br /> = = = Introduction = = =<br /> Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.<br /> = = = The Egg = = =<br /> Bla, bla, bla<br /> = = = The Hen = = =<br /> Bla, bla, bla<br /> = = = Conclusion = = =<br /> Bla, bla, bla<br /> = = = References = = =<br /> Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT <br /> <br /> ==Sample papers==<br /> You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &quot;Sample paper&quot;.<br /> * A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories<br /> * An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications<br /> * Comparative Study on Functional Equivalence Theory and Skopos Theroy<br /> * Comparison of Derrida’s and Benjamin’s Translation View<br /> * Impacts of Western Translation Theories on The Translator’s Guide to Chinglish<br /> * On the Comparison between &quot;Sublimation&quot; an &quot;Functonal Equivalence&quot; Theories<br /> * Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics<br /> * The Translation of Culture-loaded Words in Chinese-English Communication<br /> * Translators' Views on Translation Influence Their Translation Behavior<br /> <br /> ==Websites to write your final exam paper on==<br /> The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).<br /> <br /> ==Here you can write your Final Exam Papers==<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi, 解帆 Xie Fan, 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning, 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，孟莹 Meng Ying，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi，欧阳静兰 Ouyang Jinglan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie，周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，邹鑫雨 Zou Xinyu，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han, 李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]<br /> *[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi]<br /> <br /> =Benefits=<br /> This course is registered as a &quot;EU Expert&quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.</div>

Wu Kai https://bou.de/u/index.php?title=20201214_trans&diff=110160 2020-12-11T11:06:09Z

<p>Wu Kai: /* Xie Ziyi 谢子熠 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.<br /> <br /> Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s. Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product. Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou. Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.<br /> ==Chang Huiyue 常慧月==<br /> Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[ See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing: Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ] This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment. It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young. To them the business of literature was that of constructing an unprecedented new vision.<br /> ==Chen Han 陈涵==<br /> '''Writers’ changing roles changed literary prose'''<br /> <br /> Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China. They were all in their late teens and early twenties at the outbreak of the war against Japan. Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions. <br /> ==Chen Hui 陈惠==<br /> Yang Shuo[ 1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou. Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s. That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.<br /> ==Chen Jiangning 陈江宁==<br /> Liu Baiyu[ 1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing: Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism. Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas). Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School. <br /> ==Chen Jiaxin 陈佳欣==<br /> Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58. This alienation is occasionally revealed in his sanwen works from that point on.<br /> <br /> Qin Mu[ 1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27). <br /> ==Chen Jingjing 陈静静==<br /> Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938. He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers. But his experience during the war was not a community experience: Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.<br /> ==Chen Sha 陈莎==<br /> Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained. He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.<br /> <br /> Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign. All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda, they continue to be colored by these at times very personal tensions that often make the essays more compelling reading in spite of themselves.<br /> ==Chen Sunfu 谌孙福==<br /> '''Procedures and interests of socialist essays'''<br /> <br /> The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.” All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s. But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.<br /> <br /> 社会散文的发展阶段和关注点<br /> <br /> 由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)<br /> <br /> 由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling<br /> <br /> 社会散文的发展和关注点<br /> <br /> 由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> '''Friction with leftist aesthetics'''<br /> <br /> In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays. In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles. At particularly rhapsodic moments, socialist sanwen texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives. One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism. <br /> ==Cheng Yusi 成于思==<br /> On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[ Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[ Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ] Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration. In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape. <br /> ==Deng Jinxia 邓锦霞==<br /> '''Yang Shuo'''<br /> <br /> Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[ Taishan jiding, wr. 1959, from Haishi. Yang, 125-129.] features this kind of overt reference to landscape painting. The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements. The first is the traditional landscape painting motif: ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language. Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.” (Yang, 126)<br /> ==Ding Daifeng 丁代凤==<br /> This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them. The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.<br /> <br /> The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim: the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism. Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.<br /> <br /> 这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 <br /> <br /> 文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn. But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.<br /> <br /> In his essay about Kunming’s camellias,[ ”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi. Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo). He then turns to his trip to Kunming after returning from travels abroad. <br /> ==Gan Fengyu 甘奉玉==<br /> Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper. His attention is drawn to one variety called ”Child’s Face” tongmian. As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms. A detailed description of the gardener himself provides the author with the key to the signified:<br /> ==Gao Mingzhu 高明珠==<br /> I fervently gazed at his hands, hands covered with mud-stained calluses. Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background: I could guess that he was a middle aged man who had been through a lot. If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer. But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives. This is how beauty is created. (Yang, 136)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.<br /> <br /> What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes: why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise? What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?<br /> <br /> ==Gu Dongfang 顾东方==<br /> '''Liu Baiyu'''<br /> <br /> Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature. Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s. But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s. <br /> ==Guan Qinqing 管钦清==<br /> The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China. ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [ ”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing: Wenhua yishu chubanshe, 1983) 5-11. ] Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:<br /> ==Gui Yizhi 桂一枝==<br /> . . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible! They call this ”through the soldier’s eyes,” ”foxhole realism” Hai! This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off. What can you do? There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors. Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.” Perhaps there are those who would criticize me: how did I get from lamplight to this argument about war, aren’t I getting way off track? Actually, no. The lamplight I am talking about may be a small matter, but it really is a reality of life at war. Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)<br /> ==Guo Lu 郭露==<br /> &quot;The Brilliance of Spring,&quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen. Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”). At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized. ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.<br /> <br /> &quot;春光灿烂&quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &quot;百花齐放&quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)<br /> <br /> &quot;春天的辉煌&quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &quot;百花&quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground. Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!” <br /> ==Han Wanzhen 韩宛真==<br /> Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC. As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency: the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints. There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.<br /> <br /> 刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party. In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[ ”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ] On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.<br /> ==Hu Baihui 胡百辉==<br /> '''Qin Mu'''<br /> <br /> Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[ Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art). By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself. The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei. Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei. However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.] Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.<br /> ==Hu Huifang 胡慧芳==<br /> In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions. Part of the visualization involves (like Liu Baiyu) aerial views. As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:<br /> <br /> 秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。<br /> --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)<br /> <br /> 在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)<br /> <br /> 秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it. The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet. The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard. Wow! A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[ Qin Mu, Hua cheng (Guangzhou: Zuojia chubanshe, 1961) 17-18.]<br /> ==Ji Tiantian 纪甜甜==<br /> Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that impression) like Liu Baiyu’s ”right here on this spot” refrain. In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[ Qin, 21-31.] In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)<br /> <br /> Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin). Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [ Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.] But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen. And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.<br /> <br /> 这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&quot;。30)<br /> <br /> 秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &quot;写什么？&quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Qin Mu’s ”Xing xia” (Under the Stars, 1958)[ Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity. The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation. Many or most of his essays give an exhilarating sense of vastness.<br /> <br /> But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context. Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history. He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.<br /> ==Kang Haoyu 康浩宇==<br /> Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962. It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.<br /> ==Kang Lingfeng 康灵凤==<br /> '''Conclusion'''<br /> <br /> The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world. These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training. They helped write the socialist world into existence.<br /> ==Kong Xianghui 孔祥慧==<br /> Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[ Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 1989) 38-43.] Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind. But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision. What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.<br /> ==Kong Yanan 孔亚楠==<br /> Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims. Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan. Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.<br /> ==Lei Fangyuan 雷方圆==<br /> '''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [ This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]<br /> <br /> ''Alexandra R. Wagner''<br /> <br /> '''Abstract'''<br /> Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.<br /> ==Lei Kuangxi 雷旷溪==<br /> The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. <br /> <br /> Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.<br /> <br /> 这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。<br /> <br /> 审视朱、余、方三家文章中的 &quot;传统姿态&quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi<br /> <br /> 这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。<br /> <br /> 对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.<br /> <br /> 作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)<br /> <br /> 作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &quot;作为一种态度的标志而做出的行为&quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.<br /> 采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &quot;互动&quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.<br /> <br /> In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.<br /> ==Li Liqin 李丽琴==<br /> <br /> Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds. By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. <br /> <br /> In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. <br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）<br /> <br /> 朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。<br /> <br /> 在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。<br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。<br /> <br /> 在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings. <br /> <br /> In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. <br /> <br /> Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） <br /> <br /> FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）<br /> <br /> ==Li Meng 李梦==<br /> <br /> Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. <br /> <br /> Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.” The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as<br /> <br /> “Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）<br /> <br /> ''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）<br /> <br /> ==Li Yongshan 李泳珊==<br /> [s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. <br /> <br /> Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. <br /> <br /> Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）<br /> <br /> According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译） <br /> <br /> [t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）<br /> <br /> ==Li Yu 李玉==<br /> <br /> Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier. <br /> ==Lin Min 林敏==<br /> Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.<br /> <br /> 郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)<br /> <br /> 郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji). The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.<br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)<br /> <br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Ling Zijin 凌子瑾==<br /> All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.<br /> ==Liu Bo 刘博==<br /> '''Encounters with People in Zhu Ziqing’s Qinhuaihe'''<br /> <br /> Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point. Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.<br /> <br /> It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)<br /> ==Liu Jinxingqi 刘金惺琦==<br /> The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.<br /> <br /> Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals. <br /> <br /> ==Liu Liu 刘柳==<br /> Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. <br /> <br /> The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.<br /> <br /> 朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。<br /> <br /> 文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)<br /> <br /> 朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，<br /> <br /> 文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.<br /> <br /> Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment. <br /> <br /> ==Liu Yi 刘艺==<br /> He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.” Zhu is left in a no-man’s-land between private desire and modern awareness.<br /> <br /> <br /> '''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''<br /> <br /> Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.<br /> <br /> 他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&quot;仿佛黑暗张开了巨口，要把他们的船吞掉&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫的''钓鱼台''的不完整与模糊'''<br /> <br /> 不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)<br /> <br /> 他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&quot;如黑暗张着巨口，要将我们的船吞了下去&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫《钓台的春昼》的不完整性与模糊性'''<br /> <br /> 不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.<br /> <br /> The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.<br /> <br /> 郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。<br /> 在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,” but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.<br /> ==Lou Cancan 娄灿灿==<br /> Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.<br /> ==Luo Weijia 罗维嘉==<br /> Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.<br /> ==Luo Yuqing 罗雨晴==<br /> On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. <br /> <br /> In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.<br /> <br /> ==Ma Juan 马娟==<br /> One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.<br /> <br /> Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)<br /> <br /> Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)<br /> <br /> Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.<br /> <br /> Yu Dafu, 206(文献无需翻译)<br /> <br /> ==Ma Shuya 马淑雅==<br /> The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.” The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction” enveloping the boat. The sun is gone, and only a soughing wind comes and goes. <br /> <br /> The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.<br /> ==Ma Zhixing 马智星==<br /> Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.” Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.<br /> <br /> On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”<br /> <br /> ==Meng Ying 孟莹==<br /> However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.” Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. <br /> <br /> ==Mo Ling 莫玲==<br /> Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. <br /> <br /> After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.<br /> <br /> 这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling<br /> <br /> 虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.<br /> ==Nie Xiaolou 聂晓楼==<br /> '''Self-referential strategy in Fang Lingru’s ''Langyashan'''''<br /> <br /> By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.<br /> <br /> Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).” <br /> <br /> Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.<br /> ==Ou Rong 欧蓉==<br /> Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. <br /> <br /> When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.” <br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets. <br /> <br /> It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.<br /> ==Ouyang Ling 欧阳玲==<br /> The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.<br /> <br /> 文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling<br /> <br /> 在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. <br /> ==Peng Juan 彭娟==<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> Conclusion<br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> '''Conclusion'''<br /> <br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication. <br /> <br /> Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）<br /> <br /> 传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。<br /> <br /> 与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. <br /> <br /> By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.<br /> <br /> 朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。<br /> <br /> 通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.<br /> ==Peng Yuzhi 彭育志==<br /> '''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''<br /> <br /> ''Wang Ban''<br /> <br /> '''Abstract'''<br /> <br /> As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative. This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode. For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.<br /> ==Qi Kai 漆凯==<br /> The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions. Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality. The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.<br /> ==Qu Miao 瞿淼==<br /> The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture. It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters. This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture. Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction. <br /> ==Quan Meixin 全美欣==<br /> The main character Uncle's career illustrates the waning of historical consciousness. This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China. <br /> <br /> '''The Essay and the Novel'''<br /> <br /> The essay as a cultural form can be grasped in its relation to the novel. In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s. The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.<br /> <br /> ==Sagara Seydou ==<br /> Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence. The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality. It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny. In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. <br /> ==Shi Diwen 石迪文==<br /> It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history. For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process. Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms. <br /> <br /> Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history. So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive. See Qi Shuyu, 103-104.（文献无需翻译）<br /> <br /> ==Shi Haiyao 石海瑶==<br /> If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism. As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one. In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56). <br /> ==Si Yu 司妤==<br /> In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality. But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. <br /> <br /> The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West. The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume. <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other. The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort. It was ideological, educational, edifying, its grand narrative projecting material praxis. It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.<br /> ==Su Lin 苏琳==<br /> The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species. This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels. My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility. I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.<br /> ==Tan Xingyue 谭星越==<br /> One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer. This is one reason why it is instructive to contract the essayistic with the novel. The essay deals with a prosaic and mundane world. In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness. In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap. My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay. For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality. This view, though historical, can lead to two contradictory conclusions. In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization. As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether. On this account the novel would be a casualty of the Spirit’s historical movement and self-realization. For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art. In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art. As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).<br /> <br /> Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis. Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint. In modern times the novel is still alive as the impulse of art is still pressing. The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream. On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.<br /> <br /> 普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)<br /> <br /> 对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection. Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay. In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state. But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable. Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology. In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.<br /> <br /> ==Tang Ming 唐铭==<br /> The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life. The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade. To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum. Literature, as a historical vision and ideological apparatus, is hanging in the balance.<br /> <br /> 脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming<br /> 失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &quot;失控 &quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。 文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Tang Yiran 汤伊然==<br /> Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry. This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China. But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.<br /> <br /> For a tracing of the historical linkage we may turn to the earlier period in modern literary history. Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture. Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.<br /> <br /> ==Tao Ye 陶冶==<br /> This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang. An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work. Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture. Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.<br /> <br /> '''Eileen Chang and the Essay in the Urban Setting'''<br /> <br /> The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work. Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.<br /> <br /> This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.<br /> <br /> ==Wang Meiling 王美玲==<br /> Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life. The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction. The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays. While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. <br /> <br /> Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture. In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child. <br /> <br /> ==Wang Xuan 王轩==<br /> Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography. The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7). The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations. Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture. Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life. They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.<br /> <br /> <br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs. <br /> <br /> While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do. If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes. The nature of the essay seems to lie in its irrelevance to history as a literary principle:<br /> <br /> ==Wang Yuan 王源==<br /> I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions. But privately I hope they would say more things that are irrelevant. Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion. But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness. Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes. (41)<br /> <br /> As a fiction writer Chang does not believe in artistic perfection. She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims. In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium. The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art. Formalistically the essay is random, self-contradictory, expressive, and therapeutic. Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen''). Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged. It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant. This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles. This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. <br /> <br /> Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”<br /> <br /> In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in. See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.<br /> <br /> ==Wen Sixing 文偲荇==<br /> In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance. I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.<br /> <br /> '''Telling a Story Where There is no Story to Tell'''<br /> <br /> Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature. The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future. One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.<br /> <br /> 20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)<br /> ----<br /> <br /> 在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For Wang Anyi this poverty of stories is directly linked to the urban setting. The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd. This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode. In it Wang sets up a contrast between the village community and urban social organization. The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories. As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face. Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.<br /> <br /> ==Wu Kai 吴恺==<br /> The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms. Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity. In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. <br /> <br /> This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller. The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller. Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.<br /> <br /> 这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。<br /> <br /> 关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure. It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history. Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources.. Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people. There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story. <br /> <br /> ==Wu Qiong 吴琼==<br /> This is what Wang means by saying there is lack of stories in the city. The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.<br /> <br /> '''From the Historical to the Essayistic: the Fall of the Intellectual'''<br /> <br /> Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole. From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture. Something fundamental had drastically shaken the basic fabrics of Chinese society.<br /> <br /> 这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。<br /> <br /> '''从历史主义到文章主义：知识分子的堕落'''。<br /> <br /> 王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> ''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China. Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history. Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization. From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic. This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.<br /> <br /> Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.<br /> <br /> ==Wu Yilu 吴一露==<br /> The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself. In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle. One would be disappointed to expect an engaging action or dramatic story. Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one. The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise. He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood. <br /> <br /> ==Wu Zijia 吴子佳==<br /> “Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181). The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market. Writers, the narrator says, are people who spend their time making up stories. One day “we started circulating his (Uncle's) maxims.” To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.<br /> <br /> “许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form. In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context. Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification. The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle. Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal. It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments. Its supposed form is actually formlessness. Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.<br /> <br /> 从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xiao Ting 肖婷==<br /> While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition. In the Chinese literary convention the essay is not so clearly defined against something so established. Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism. <br /> <br /> The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket. Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:<br /> <br /> 虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 <br /> <br /> 本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Xi 肖茜==<br /> The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing. (17)<br /> <br /> The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay. The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16). This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).<br /> <br /> See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.<br /> <br /> Adorno, 3-23.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella. As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle. These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing. As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche. But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.<br /> <br /> 探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky. Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man. One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life. Like thousands of other writers, Uncle was persecuted and exiled because of his writing. But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact. In the first telling, his persecution is a political story, indicting the tyranny of the political system. Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.<br /> <br /> 比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个被困在狭小乡村的求生之物。像其他成千上万的作家一样，因为自己的作品遭到迫害和流放。但是这个英雄悲剧作家的传奇故事又被幽默地改编成三个不同的版本，在后文中得以复述。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:56, 11 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources. This is by no means a literary embellishment for pure rhetorical variety or pleasure. The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight. The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old. This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it. This divergence is the key to understanding the essay and the essayistic.<br /> <br /> 进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。<br /> --[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:03, 11 December 2020 (UTC)<br /> <br /> 这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:06, 11 December 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative. The Uncle is intensely committed to writing literature as praxis for social change. His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers. It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue). It is the voice of the farsighted and the vanguard in China's modernization drive. Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history. Literature is simply one vehicle that carries this historical mission. <br /> <br /> ==Xu Jing 许晶==<br /> The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel. The Uncle's general outlook on the world is epic in the Lukácsian sense. The young narrator captures this ''Weltanschauung'' very accurately: <br /> <br /> The political life of the past few decades has filled up his personal experience and life. This enables Uncle to keep his worldview firmly anchored to reality and politics. The state and government encompass the whole world for him and form the vast backdrop for human activity. Patterns of people's behavior and conduct are but representatives of social life. The concept of culture sounds very abstract and empty to him. For him art should also perform real and political functions. (214-215)<br /> <br /> ==Xu Jing 许静==<br /> The young generation, in contrast, is not so firmly grounded. Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms. Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission. Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes. Art has become an artful, artsy activity, floating free of socio-historical grounding. Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories. All this also leads to the enhancement of a writer's charisma and even sexual appeal. Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer. The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media. As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up. His new position as a glamorous writer allows him to become a globetrotter. At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties. Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.<br /> 叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical. The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity. He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques. He becomes more and more detached from the grave political issues of the day. His new outlook is derived from a purely aesthetic principle.<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments. His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation. Real human relations are “only a literary conceit.” (227), he echoes the younger generation. Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.” Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225). Parallel with this essayistic quality is the Uncle's changed life style. His is more taken with things he would have considered vulgar, low, or quotidian;<br /> <br /> 生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> he becomes more listless and yuppish. He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles. In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.<br /> <br /> The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance. The problem with this change, as the novella's ending suggests, is that it is self-deceptive. Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son. His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments. <br /> <br /> ==Yang Hui 阳慧==<br /> The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm. Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form. If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse. It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.<br /> <br /> 儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)<br /> <br /> 儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process. Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions. China’s social reality does not square so nicely with the essayistic playfulness one may wish. Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed. <br /> <br /> ==Yang Yue 杨悦==<br /> '''Mulish Essays: the Genre of ''Zawen'' in Contemporary China<br /> '''<br /> <br /> ''Mary Scoggin''<br /> <br /> '''Abstract'''<br /> <br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.<br /> <br /> ==Yang Ziling 杨子泠==<br /> Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. <br /> <br /> ==Yao Cheng 姚诚==<br /> Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.<br /> <br /> In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.<br /> <br /> 杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。<br /> <br /> 在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> 最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&quot;杂文&quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &quot;匕首和长矛 &quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国散文的教科书和手册中，&quot;杂文&quot;[字面意思是 &quot;杂文&quot;，以下简称杂文]被作为一种极具 &quot;中国性&quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)<br /> <br /> 最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yao Jia 姚佳==<br /> Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification. Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage. Compare the comments of a recent critic of ''zawen'':<br /> <br /> In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.<br /> <br /> 鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &quot;tsa-wen &quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：<br /> <br /> 在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject... the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.' That is why only Chinese people themselves can evaluate this phenomenon called zawen. (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])<br /> In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style. He continues his commentary;<br /> <br /> ==Yi Zichu 义子楚==<br /> But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.'' Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving. But Chinese people all understand them easily. If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost. The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).<br /> <br /> Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability. <br /> <br /> ==You Yuting 游雨婷==<br /> One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles. Mules kick, spit and bray with distinctive exuberance. ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin). Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance. <br /> <br /> So how does an essay kick, spit and bray? In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely. <br /> <br /> ==Yu Ni 余妮==<br /> Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001). I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure. Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience. Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks. <br /> <br /> Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China. I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray. The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society. Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.<br /> <br /> 下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)<br /> <br /> 下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances. After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''. Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.<br /> <br /> 杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> An Demonstrative Sample – “'Pei Pei Pei!'?”<br /> ''<br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)<br /> So begins an essay entitled “呸呸呸!”? composed in February of 1989. I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.<br /> ''<br /> ==Zeng Fangyuan 曾芳缘==<br /> A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32). Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates. A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!” <br /> <br /> ==Zeng Liang 曾良==<br /> In the case of this title, modal functions are reinforced by several formal tropes. Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks. In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust. The quotation marks invoke disgust only to distance it, while the question mark further challenges it. The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> “Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen. Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness. <br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. <br /> <br /> The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels. The first level is located in the words themselves, including the use of “pei” I have described above. This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.<br /> <br /> 在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。<br /> <br /> “呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。<br /> <br /> ==Zhang Hu 张虎==<br /> Other examples of this level of tone in “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of “discipline and rectification,” which Shao has skillfully turned into a counter charge. <br /> <br /> A second level of irony requires contextual knowledge on the part of the reader. This includes assumptions that would be obvious to most readers.<br /> <br /> “呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。<br /> <br /> 第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature. References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone. <br /> <br /> A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.<br /> <br /> 例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。<br /> <br /> 第三个层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &quot;文学与百姓生活&quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)<br /> <br /> 比如，邵燕祥声称，他从来没有听说过 &quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &quot;全民办报（出版）&quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 <br /> <br /> 第三层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> ''Zawen'' often make extensive use of this third, intimately contextualized level. In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.<br /> <br /> In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity. Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent. ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly. Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts. In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as a genre of protest and complaint. He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''<br /> <br /> ==Zhang Qi 张琪==<br /> '''A Restrained Sample – “East Station”'''<br /> <br /> I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations. On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994. It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition. At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.<br /> <br /> 受约束的样本–“东站”'''<br /> <br /> 我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> It is a rather lyrical survey of historical images centering upon refugees, migrants, political and literary figures on their passages to and from Beijing. It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of Front Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.<br /> <br /> 此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。<br /> 三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation. Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;<br /> <br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time, he composed a poem “How much of the people's blood was spilled for this honor. <br /> <br /> ==Zhang Yinliu 张银柳==<br /> Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I do not know why, but this poem was not collected in any of his later collections.<br /> <br /> In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.” Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people. The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.<br /> <br /> ==Zhang Yu 张瑜==<br /> Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity. This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above. One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper. The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique. In order to understand this, we must again go beyond the actual words of the piece.<br /> <br /> 仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't. She said;<br /> <br /> Actually Shao Yanxiang submitted two manuscripts, but I had to return one. (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to. The original is still here, I wonder if you will understand? It requires some background...At the time it was the head editor that rejected the manuscript. He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> Because this essay was just written so well. He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes) <br /> <br /> She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added. The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.<br /> It was just manuscripts, why should they look at those? They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)<br /> <br /> ==Zhao Xi 赵茜==<br /> When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me. She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. <br /> <br /> In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.” Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date. <br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.” The emphasis upon these dates forces a new consideration of the essay as a whole. Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989. The date heightens the threat of Shao's concluding two sentences; “Today will also become history. And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels. For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.<br /> <br /> 新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &quot;叛乱 &quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&quot; 这张潦草的纸条将30年、1989年、&quot;今天 &quot;和不顾一切的 &quot;寸土寸金 &quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)<br /> <br /> 新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> '''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''<br /> <br /> It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''. I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion. Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike. And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''. In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).<br /> <br /> 一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。<br /> 那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &quot;丑陋 &quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&quot;骡子 &quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership? The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history. To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.<br /> <br /> ''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen. With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.) <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally. ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture. My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of Chinese culture. <br /> <br /> Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[ For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000. Earlier views in American sinology tie &quot;bad literature&quot; directly to the effects of political tyranny. ] Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature. <br /> <br /> ==Zhou Siqing 周思庆==<br /> Obviously this generalization is subject to objection at many, if not all of its points. I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance. Complaints frequently accrue over the following literary practices;<br /> <br /> 1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print<br /> <br /> 2)Adhering to one or another “politically correct line” <br /> <br /> 3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets <br /> <br /> 4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics. Fair, true or not, this sort of summary criticism of the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely. I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.<br /> <br /> 有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&quot; 杂文&quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize. Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.” Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.<br /> <br /> Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way. Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> ''Zawen'' provide frequent commentary on precisely this issue. Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen. In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:<br /> <br /> It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').” They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?” … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.” After several decades this conclusion was overturned and rectified, so now what I had said became the truth. (Lan, 85). <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> The irony and false fatalism of this ''zawen'' is characteristic of its style. In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85) Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.” But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary? Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''. It is the moody, but honest, kick of the mule.<br /> <br /> 这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)<br /> <br /> 这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &quot;劣质文学 &quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> ''Tone in Historical Context''<br /> <br /> As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing. It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening. Music figures centrally in the Confucian Great Preface to the Book of Odes:<br /> <br /> The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced. The tones of an age of turmoil are bitter and full of anger; its government is perverse. The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).<br /> <br /> 例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。<br /> <br /> 情感显现在声音里，当这些声音有了图式，就叫 &quot;音&quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。</div>

Wu Kai https://bou.de/u/index.php?title=20201214_trans&diff=110155 2020-12-11T10:54:16Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.<br /> <br /> Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s. Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product. Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou. Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.<br /> ==Chang Huiyue 常慧月==<br /> Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[ See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing: Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ] This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment. It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young. To them the business of literature was that of constructing an unprecedented new vision.<br /> ==Chen Han 陈涵==<br /> '''Writers’ changing roles changed literary prose'''<br /> <br /> Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China. They were all in their late teens and early twenties at the outbreak of the war against Japan. Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions. <br /> ==Chen Hui 陈惠==<br /> Yang Shuo[ 1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou. Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s. That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.<br /> ==Chen Jiangning 陈江宁==<br /> Liu Baiyu[ 1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing: Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism. Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas). Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School. <br /> ==Chen Jiaxin 陈佳欣==<br /> Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58. This alienation is occasionally revealed in his sanwen works from that point on.<br /> <br /> Qin Mu[ 1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27). <br /> ==Chen Jingjing 陈静静==<br /> Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938. He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers. But his experience during the war was not a community experience: Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.<br /> ==Chen Sha 陈莎==<br /> Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained. He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.<br /> <br /> Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign. All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda, they continue to be colored by these at times very personal tensions that often make the essays more compelling reading in spite of themselves.<br /> ==Chen Sunfu 谌孙福==<br /> '''Procedures and interests of socialist essays'''<br /> <br /> The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.” All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s. But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.<br /> <br /> 社会散文的发展阶段和关注点<br /> <br /> 由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)<br /> <br /> 由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling<br /> <br /> 社会散文的发展和关注点<br /> <br /> 由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> '''Friction with leftist aesthetics'''<br /> <br /> In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays. In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles. At particularly rhapsodic moments, socialist sanwen texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives. One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism. <br /> ==Cheng Yusi 成于思==<br /> On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[ Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[ Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ] Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration. In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape. <br /> ==Deng Jinxia 邓锦霞==<br /> '''Yang Shuo'''<br /> <br /> Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[ Taishan jiding, wr. 1959, from Haishi. Yang, 125-129.] features this kind of overt reference to landscape painting. The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements. The first is the traditional landscape painting motif: ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language. Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.” (Yang, 126)<br /> ==Ding Daifeng 丁代凤==<br /> This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them. The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.<br /> <br /> The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim: the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism. Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.<br /> <br /> 这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 <br /> <br /> 文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn. But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.<br /> <br /> In his essay about Kunming’s camellias,[ ”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi. Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo). He then turns to his trip to Kunming after returning from travels abroad. <br /> ==Gan Fengyu 甘奉玉==<br /> Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper. His attention is drawn to one variety called ”Child’s Face” tongmian. As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms. A detailed description of the gardener himself provides the author with the key to the signified:<br /> ==Gao Mingzhu 高明珠==<br /> I fervently gazed at his hands, hands covered with mud-stained calluses. Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background: I could guess that he was a middle aged man who had been through a lot. If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer. But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives. This is how beauty is created. (Yang, 136)<br /> <br /> ==Gong Yumian 龚钰冕==<br /> When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.<br /> <br /> What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes: why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise? What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?<br /> <br /> ==Gu Dongfang 顾东方==<br /> '''Liu Baiyu'''<br /> <br /> Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature. Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s. But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s. <br /> ==Guan Qinqing 管钦清==<br /> The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China. ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [ ”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing: Wenhua yishu chubanshe, 1983) 5-11. ] Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:<br /> ==Gui Yizhi 桂一枝==<br /> . . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible! They call this ”through the soldier’s eyes,” ”foxhole realism” Hai! This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off. What can you do? There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors. Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.” Perhaps there are those who would criticize me: how did I get from lamplight to this argument about war, aren’t I getting way off track? Actually, no. The lamplight I am talking about may be a small matter, but it really is a reality of life at war. Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)<br /> ==Guo Lu 郭露==<br /> &quot;The Brilliance of Spring,&quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen. Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”). At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized. ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.<br /> <br /> &quot;春光灿烂&quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &quot;百花齐放&quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)<br /> <br /> &quot;春天的辉煌&quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &quot;百花&quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &quot;春光灿烂 &quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground. Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!” <br /> ==Han Wanzhen 韩宛真==<br /> Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC. As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency: the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints. There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.<br /> <br /> 刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party. In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[ ”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ] On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.<br /> ==Hu Baihui 胡百辉==<br /> '''Qin Mu'''<br /> <br /> Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[ Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art). By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself. The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei. Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei. However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.] Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.<br /> ==Hu Huifang 胡慧芳==<br /> In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions. Part of the visualization involves (like Liu Baiyu) aerial views. As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:<br /> <br /> 秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。<br /> --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)<br /> <br /> 在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)<br /> <br /> 秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it. The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet. The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard. Wow! A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[ Qin Mu, Hua cheng (Guangzhou: Zuojia chubanshe, 1961) 17-18.]<br /> ==Ji Tiantian 纪甜甜==<br /> Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that impression) like Liu Baiyu’s ”right here on this spot” refrain. In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[ Qin, 21-31.] In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)<br /> <br /> 在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)<br /> <br /> Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin). Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [ Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.] But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen. And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.<br /> <br /> 这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&quot;。30)<br /> <br /> 秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &quot;写什么？&quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Qin Mu’s ”Xing xia” (Under the Stars, 1958)[ Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity. The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)<br /> <br /> 秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation. Many or most of his essays give an exhilarating sense of vastness.<br /> <br /> But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context. Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history. He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.<br /> ==Kang Haoyu 康浩宇==<br /> Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962. It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.<br /> ==Kang Lingfeng 康灵凤==<br /> '''Conclusion'''<br /> <br /> The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world. These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training. They helped write the socialist world into existence.<br /> ==Kong Xianghui 孔祥慧==<br /> Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[ Slavoj Zizek, The Sublime Object of Ideology (London: Verso, 1989) 38-43.] Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind. But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision. What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.<br /> ==Kong Yanan 孔亚楠==<br /> Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims. Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan. Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.<br /> ==Lei Fangyuan 雷方圆==<br /> '''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [ This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]<br /> <br /> ''Alexandra R. Wagner''<br /> <br /> '''Abstract'''<br /> Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.<br /> ==Lei Kuangxi 雷旷溪==<br /> The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. <br /> <br /> Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.<br /> <br /> 这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。<br /> <br /> 审视朱、余、方三家文章中的 &quot;传统姿态&quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi<br /> <br /> 这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。<br /> <br /> 对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.<br /> <br /> 作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)<br /> <br /> 作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &quot;作为一种态度的标志而做出的行为&quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.<br /> 采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &quot;互动&quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.<br /> <br /> In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.<br /> ==Li Liqin 李丽琴==<br /> <br /> Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds. By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. <br /> <br /> In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. <br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）<br /> <br /> 朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。<br /> <br /> 在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。<br /> <br /> Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译） <br /> <br /> Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. <br /> <br /> Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）<br /> <br /> In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。<br /> <br /> 在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings. <br /> <br /> In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. <br /> <br /> Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） <br /> <br /> FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）<br /> <br /> ==Li Meng 李梦==<br /> <br /> Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. <br /> <br /> Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.” The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as<br /> <br /> “Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）<br /> <br /> ''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）<br /> <br /> ==Li Yongshan 李泳珊==<br /> [s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. <br /> <br /> Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. <br /> <br /> Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）<br /> <br /> According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译） <br /> <br /> [t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）<br /> <br /> ==Li Yu 李玉==<br /> <br /> Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier. <br /> ==Lin Min 林敏==<br /> Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.<br /> <br /> 郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)<br /> <br /> 郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji). The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.<br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)<br /> <br /> <br /> 在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Ling Zijin 凌子瑾==<br /> All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.<br /> ==Liu Bo 刘博==<br /> '''Encounters with People in Zhu Ziqing’s Qinhuaihe'''<br /> <br /> Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point. Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.<br /> <br /> It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)<br /> ==Liu Jinxingqi 刘金惺琦==<br /> The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.<br /> <br /> Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals. <br /> <br /> ==Liu Liu 刘柳==<br /> Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. <br /> <br /> The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.<br /> <br /> 朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。<br /> <br /> 文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)<br /> <br /> 朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，<br /> <br /> 文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.<br /> <br /> Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment. <br /> <br /> ==Liu Yi 刘艺==<br /> He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.” Zhu is left in a no-man’s-land between private desire and modern awareness.<br /> <br /> <br /> '''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''<br /> <br /> Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.<br /> <br /> 他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&quot;仿佛黑暗张开了巨口，要把他们的船吞掉&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫的''钓鱼台''的不完整与模糊'''<br /> <br /> 不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)<br /> <br /> 他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&quot;如黑暗张着巨口，要将我们的船吞了下去&quot;。 朱先生在私欲与现代意识之间陷入了无人区。<br /> <br /> '''郁达夫《钓台的春昼》的不完整性与模糊性'''<br /> <br /> 不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.<br /> <br /> The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.<br /> <br /> 郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。<br /> 在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,” but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.<br /> ==Lou Cancan 娄灿灿==<br /> Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.<br /> ==Luo Weijia 罗维嘉==<br /> Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.<br /> ==Luo Yuqing 罗雨晴==<br /> On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. <br /> <br /> In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.<br /> <br /> ==Ma Juan 马娟==<br /> One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.<br /> <br /> Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)<br /> <br /> Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)<br /> <br /> Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.<br /> <br /> Yu Dafu, 206(文献无需翻译)<br /> <br /> ==Ma Shuya 马淑雅==<br /> The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.” The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction” enveloping the boat. The sun is gone, and only a soughing wind comes and goes. <br /> <br /> The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.<br /> ==Ma Zhixing 马智星==<br /> Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.” Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.<br /> <br /> On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”<br /> <br /> ==Meng Ying 孟莹==<br /> However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.” Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. <br /> <br /> ==Mo Ling 莫玲==<br /> Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. <br /> <br /> After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.<br /> <br /> 这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling<br /> <br /> 虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。<br /> <br /> 在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.<br /> ==Nie Xiaolou 聂晓楼==<br /> '''Self-referential strategy in Fang Lingru’s ''Langyashan'''''<br /> <br /> By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.<br /> <br /> Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).” <br /> <br /> Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.<br /> ==Ou Rong 欧蓉==<br /> Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. <br /> <br /> When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.” <br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets. <br /> <br /> It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.<br /> ==Ouyang Ling 欧阳玲==<br /> The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.<br /> <br /> 文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling<br /> <br /> 在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. <br /> ==Peng Juan 彭娟==<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> Conclusion<br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.<br /> <br /> '''Conclusion'''<br /> <br /> The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication. <br /> <br /> Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）<br /> <br /> 传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。<br /> <br /> 与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. <br /> <br /> By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.<br /> <br /> 朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。<br /> <br /> 通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.<br /> ==Peng Yuzhi 彭育志==<br /> '''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''<br /> <br /> ''Wang Ban''<br /> <br /> '''Abstract'''<br /> <br /> As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative. This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode. For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.<br /> ==Qi Kai 漆凯==<br /> The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions. Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality. The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.<br /> ==Qu Miao 瞿淼==<br /> The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture. It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters. This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture. Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction. <br /> ==Quan Meixin 全美欣==<br /> The main character Uncle's career illustrates the waning of historical consciousness. This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China. <br /> <br /> '''The Essay and the Novel'''<br /> <br /> The essay as a cultural form can be grasped in its relation to the novel. In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s. The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.<br /> <br /> ==Sagara Seydou ==<br /> Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence. The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality. It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny. In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. <br /> ==Shi Diwen 石迪文==<br /> It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history. For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process. Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms. <br /> <br /> Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history. So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive. See Qi Shuyu, 103-104.（文献无需翻译）<br /> <br /> ==Shi Haiyao 石海瑶==<br /> If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism. As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one. In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56). <br /> ==Si Yu 司妤==<br /> In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality. But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. <br /> <br /> The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West. The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume. <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other. The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort. It was ideological, educational, edifying, its grand narrative projecting material praxis. It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.<br /> ==Su Lin 苏琳==<br /> The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species. This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels. My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility. I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.<br /> ==Tan Xingyue 谭星越==<br /> One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer. This is one reason why it is instructive to contract the essayistic with the novel. The essay deals with a prosaic and mundane world. In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness. In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap. My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay. For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality. This view, though historical, can lead to two contradictory conclusions. In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization. As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether. On this account the novel would be a casualty of the Spirit’s historical movement and self-realization. For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art. In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art. As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).<br /> <br /> Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis. Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint. In modern times the novel is still alive as the impulse of art is still pressing. The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream. On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.<br /> <br /> 普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)<br /> <br /> 对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）<br /> 然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection. Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay. In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state. But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable. Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology. In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.<br /> <br /> ==Tang Ming 唐铭==<br /> The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life. The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade. To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum. Literature, as a historical vision and ideological apparatus, is hanging in the balance.<br /> <br /> 脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming<br /> 失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &quot;失控 &quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。 文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili<br /> <br /> ==Tang Yiran 汤伊然==<br /> Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry. This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China. But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.<br /> <br /> For a tracing of the historical linkage we may turn to the earlier period in modern literary history. Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture. Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.<br /> <br /> ==Tao Ye 陶冶==<br /> This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang. An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work. Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture. Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.<br /> <br /> '''Eileen Chang and the Essay in the Urban Setting'''<br /> <br /> The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work. Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.<br /> <br /> This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.<br /> <br /> ==Wang Meiling 王美玲==<br /> Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life. The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction. The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays. While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. <br /> <br /> Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture. In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child. <br /> <br /> ==Wang Xuan 王轩==<br /> Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography. The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7). The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations. Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture. Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life. They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.<br /> <br /> <br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs. <br /> <br /> While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do. If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes. The nature of the essay seems to lie in its irrelevance to history as a literary principle:<br /> <br /> ==Wang Yuan 王源==<br /> I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions. But privately I hope they would say more things that are irrelevant. Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion. But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness. Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes. (41)<br /> <br /> As a fiction writer Chang does not believe in artistic perfection. She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims. In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium. The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art. Formalistically the essay is random, self-contradictory, expressive, and therapeutic. Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen''). Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged. It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant. This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles. This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. <br /> <br /> Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”<br /> <br /> In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in. See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.<br /> <br /> ==Wen Sixing 文偲荇==<br /> In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance. I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.<br /> <br /> '''Telling a Story Where There is no Story to Tell'''<br /> <br /> Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature. The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future. One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.<br /> <br /> 20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)<br /> ----<br /> <br /> 在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。<br /> “在没有故事可讲的地方讲故事”<br /> 王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> For Wang Anyi this poverty of stories is directly linked to the urban setting. The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd. This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode. In it Wang sets up a contrast between the village community and urban social organization. The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories. As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face. Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.<br /> <br /> ==Wu Kai 吴恺==<br /> The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms. Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity. In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. <br /> <br /> This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller. The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller. Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.<br /> <br /> 这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。<br /> <br /> 关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure. It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history. Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources.. Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people. There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story. <br /> <br /> ==Wu Qiong 吴琼==<br /> This is what Wang means by saying there is lack of stories in the city. The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.<br /> <br /> '''From the Historical to the Essayistic: the Fall of the Intellectual'''<br /> <br /> Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole. From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture. Something fundamental had drastically shaken the basic fabrics of Chinese society.<br /> <br /> 这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。<br /> <br /> '''从历史主义到文章主义：知识分子的堕落'''。<br /> <br /> 王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> ''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China. Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history. Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization. From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic. This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.<br /> <br /> Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.<br /> <br /> ==Wu Yilu 吴一露==<br /> The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself. In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle. One would be disappointed to expect an engaging action or dramatic story. Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one. The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise. He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood. <br /> <br /> ==Wu Zijia 吴子佳==<br /> “Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181). The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market. Writers, the narrator says, are people who spend their time making up stories. One day “we started circulating his (Uncle's) maxims.” To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.<br /> <br /> “许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form. In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context. Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification. The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle. Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal. It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments. Its supposed form is actually formlessness. Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.<br /> <br /> 从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling<br /> <br /> 从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xiao Ting 肖婷==<br /> While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition. In the Chinese literary convention the essay is not so clearly defined against something so established. Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism. <br /> <br /> The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket. Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:<br /> <br /> 虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 <br /> <br /> 本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Xi 肖茜==<br /> The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing. (17)<br /> <br /> The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay. The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16). This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).<br /> <br /> See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.<br /> <br /> Adorno, 3-23.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella. As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle. These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing. As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche. But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.<br /> <br /> 探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining<br /> <br /> 一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky. Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man. One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life. Like thousands of other writers, Uncle was persecuted and exiled because of his writing. But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact. In the first telling, his persecution is a political story, indicting the tyranny of the political system. Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.<br /> <br /> 比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个被困在狭小乡村的求生之物。像其他成千上万的作家一样，因为自己的作品遭到迫害和流放。但是这个英雄悲剧作家的传奇故事又被幽默地改编成三个不同的版本，在后文中得以复述。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:56, 11 December 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources. This is by no means a literary embellishment for pure rhetorical variety or pleasure. The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight. The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old. This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it. This divergence is the key to understanding the essay and the essayistic.<br /> <br /> ==Xu Jia 徐佳==<br /> The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative. The Uncle is intensely committed to writing literature as praxis for social change. His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers. It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue). It is the voice of the farsighted and the vanguard in China's modernization drive. Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history. Literature is simply one vehicle that carries this historical mission. <br /> <br /> ==Xu Jing 许晶==<br /> The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel. The Uncle's general outlook on the world is epic in the Lukácsian sense. The young narrator captures this ''Weltanschauung'' very accurately: <br /> <br /> The political life of the past few decades has filled up his personal experience and life. This enables Uncle to keep his worldview firmly anchored to reality and politics. The state and government encompass the whole world for him and form the vast backdrop for human activity. Patterns of people's behavior and conduct are but representatives of social life. The concept of culture sounds very abstract and empty to him. For him art should also perform real and political functions. (214-215)<br /> <br /> ==Xu Jing 许静==<br /> The young generation, in contrast, is not so firmly grounded. Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms. Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission. Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes. Art has become an artful, artsy activity, floating free of socio-historical grounding. Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories. All this also leads to the enhancement of a writer's charisma and even sexual appeal. Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer. The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media. As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up. His new position as a glamorous writer allows him to become a globetrotter. At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties. Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.<br /> 叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical. The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity. He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques. He becomes more and more detached from the grave political issues of the day. His new outlook is derived from a purely aesthetic principle.<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)<br /> <br /> 在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments. His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation. Real human relations are “only a literary conceit.” (227), he echoes the younger generation. Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.” Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225). Parallel with this essayistic quality is the Uncle's changed life style. His is more taken with things he would have considered vulgar, low, or quotidian;<br /> <br /> 生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> he becomes more listless and yuppish. He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles. In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.<br /> <br /> The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance. The problem with this change, as the novella's ending suggests, is that it is self-deceptive. Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son. His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments. <br /> <br /> ==Yang Hui 阳慧==<br /> The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm. Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form. If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse. It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.<br /> <br /> 儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)<br /> <br /> 儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process. Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions. China’s social reality does not square so nicely with the essayistic playfulness one may wish. Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed. <br /> <br /> ==Yang Yue 杨悦==<br /> '''Mulish Essays: the Genre of ''Zawen'' in Contemporary China<br /> '''<br /> <br /> ''Mary Scoggin''<br /> <br /> '''Abstract'''<br /> <br /> Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.<br /> <br /> ==Yang Ziling 杨子泠==<br /> Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. <br /> <br /> ==Yao Cheng 姚诚==<br /> Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.<br /> <br /> In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.<br /> <br /> 杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。<br /> <br /> 在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)<br /> <br /> 最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&quot;杂文&quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &quot;匕首和长矛 &quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国散文的教科书和手册中，&quot;杂文&quot;[字面意思是 &quot;杂文&quot;，以下简称杂文]被作为一种极具 &quot;中国性&quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)<br /> <br /> 最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。<br /> 在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yao Jia 姚佳==<br /> Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification. Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage. Compare the comments of a recent critic of ''zawen'':<br /> <br /> In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.<br /> <br /> 鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &quot;tsa-wen &quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：<br /> <br /> 在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject... the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.' That is why only Chinese people themselves can evaluate this phenomenon called zawen. (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])<br /> In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style. He continues his commentary;<br /> <br /> ==Yi Zichu 义子楚==<br /> But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.'' Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving. But Chinese people all understand them easily. If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost. The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).<br /> <br /> Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability. <br /> <br /> ==You Yuting 游雨婷==<br /> One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles. Mules kick, spit and bray with distinctive exuberance. ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin). Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance. <br /> <br /> So how does an essay kick, spit and bray? In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely. <br /> <br /> ==Yu Ni 余妮==<br /> Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001). I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure. Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience. Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks. <br /> <br /> Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China. I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray. The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society. Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.<br /> <br /> 下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)<br /> <br /> 下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances. After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''. Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.<br /> <br /> 杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> An Demonstrative Sample – “'Pei Pei Pei!'?”<br /> ''<br /> A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say. He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)<br /> So begins an essay entitled “呸呸呸!”? composed in February of 1989. I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.<br /> ''<br /> ==Zeng Fangyuan 曾芳缘==<br /> A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32). Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates. A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!” <br /> <br /> ==Zeng Liang 曾良==<br /> In the case of this title, modal functions are reinforced by several formal tropes. Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks. In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust. The quotation marks invoke disgust only to distance it, while the question mark further challenges it. The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> “Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen. Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness. <br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. <br /> <br /> The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels. The first level is located in the words themselves, including the use of “pei” I have described above. This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.<br /> <br /> 在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。<br /> <br /> “呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。<br /> <br /> ==Zhang Hu 张虎==<br /> Other examples of this level of tone in “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of “discipline and rectification,” which Shao has skillfully turned into a counter charge. <br /> <br /> A second level of irony requires contextual knowledge on the part of the reader. This includes assumptions that would be obvious to most readers.<br /> <br /> “呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。<br /> <br /> 第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.” But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature. References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone. <br /> <br /> A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.<br /> <br /> 例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。<br /> <br /> 第三个层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &quot;文学与百姓生活&quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)<br /> <br /> 比如，邵燕祥声称，他从来没有听说过 &quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &quot;全民办报（出版）&quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 <br /> <br /> 第三层次，我称之为 &quot;索引性反讽&quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> ''Zawen'' often make extensive use of this third, intimately contextualized level. In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.<br /> <br /> In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity. Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent. ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly. Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts. In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as a genre of protest and complaint. He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''<br /> <br /> ==Zhang Qi 张琪==<br /> '''A Restrained Sample – “East Station”'''<br /> <br /> I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations. On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994. It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition. At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.<br /> <br /> 受约束的样本–“东站”'''<br /> <br /> 我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> It is a rather lyrical survey of historical images centering upon refugees, migrants, political and literary figures on their passages to and from Beijing. It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.<br /> <br /> Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of Front Gate. Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.” It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.<br /> <br /> 此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。<br /> 三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation. Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;<br /> <br /> And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy. At the time, he composed a poem “How much of the people's blood was spilled for this honor. <br /> <br /> ==Zhang Yinliu 张银柳==<br /> Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.” -- I do not know why, but this poem was not collected in any of his later collections.<br /> <br /> In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.” Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people. The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.<br /> <br /> ==Zhang Yu 张瑜==<br /> Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity. This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above. One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper. The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique. In order to understand this, we must again go beyond the actual words of the piece.<br /> <br /> 仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't. She said;<br /> <br /> Actually Shao Yanxiang submitted two manuscripts, but I had to return one. (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to. The original is still here, I wonder if you will understand? It requires some background...At the time it was the head editor that rejected the manuscript. He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> Because this essay was just written so well. He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes) <br /> <br /> She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added. The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.<br /> It was just manuscripts, why should they look at those? They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)<br /> <br /> ==Zhao Xi 赵茜==<br /> When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me. She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. <br /> <br /> In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.” Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date. <br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.” The emphasis upon these dates forces a new consideration of the essay as a whole. Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989. The date heightens the threat of Shao's concluding two sentences; “Today will also become history. And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels. For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.<br /> <br /> 新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &quot;叛乱 &quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&quot; 这张潦草的纸条将30年、1989年、&quot;今天 &quot;和不顾一切的 &quot;寸土寸金 &quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)<br /> <br /> 新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> '''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''<br /> <br /> It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''. I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion. Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike. And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''. In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).<br /> <br /> 一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。<br /> 那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &quot;丑陋 &quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&quot;骡子 &quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership? The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history. To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.<br /> <br /> ''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen. With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.) <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally. ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture. My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997). <br /> <br /> ==Zhou Shuyao 周书尧==<br /> Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of Chinese culture. <br /> <br /> Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[ For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000. Earlier views in American sinology tie &quot;bad literature&quot; directly to the effects of political tyranny. ] Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature. <br /> <br /> ==Zhou Siqing 周思庆==<br /> Obviously this generalization is subject to objection at many, if not all of its points. I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance. Complaints frequently accrue over the following literary practices;<br /> <br /> 1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print<br /> <br /> 2)Adhering to one or another “politically correct line” <br /> <br /> 3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets <br /> <br /> 4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)<br /> <br /> 显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;<br /> 1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”<br /> 2)坚持自己的“政治正确路线”<br /> 3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害<br /> 4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics. Fair, true or not, this sort of summary criticism of the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely. I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.<br /> <br /> 有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&quot; 杂文&quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize. Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.” Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.<br /> <br /> Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way. Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> ''Zawen'' provide frequent commentary on precisely this issue. Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen. In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:<br /> <br /> It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').” They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?” … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.” After several decades this conclusion was overturned and rectified, so now what I had said became the truth. (Lan, 85). <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> The irony and false fatalism of this ''zawen'' is characteristic of its style. In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85) Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.” But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary? Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''. It is the moody, but honest, kick of the mule.<br /> <br /> 这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)<br /> <br /> 这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &quot;劣质文学 &quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> ''Tone in Historical Context''<br /> <br /> As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing. It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening. Music figures centrally in the Confucian Great Preface to the Book of Odes:<br /> <br /> The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced. The tones of an age of turmoil are bitter and full of anger; its government is perverse. The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).<br /> <br /> 例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。<br /> <br /> 情感显现在声音里，当这些声音有了图式，就叫 &quot;音&quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。</div>

Wu Kai https://bou.de/u/index.php?title=20201207_trans&diff=107410 2020-12-05T10:32:54Z

<p>Wu Kai: /* Peng Yuzhi 彭育志 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[ Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915). Zhou should (June, 1922).] <br /> ==Chang Huiyue 常慧月==<br /> The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects. <br /> <br /> However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.<br /> ==Chen Han 陈涵==<br /> As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[ Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.] Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen). <br /> <br /> In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters.<br /> <br /> 正如轶闻流传的那样，为了抚慰他痛失挚爱，一位巫师把一个房间装上帘子，要求皇帝保持一定距离。夜幕降临后，在巫师的召唤下，灵魂出现在窗帘后，在烛光中晃动，仿佛她还活着。[周瘦鹃，“谈影戏”，《紫罗兰集》(上海: 大东书局, 1922) 13-14。 它的早期版本“影戏话”出现在《申报》(1919年6月20日): 15的文学专栏《自由谈》中] 尽管周瘦鹃的诠释具有历史意义，但此处的重要意义在于他以电影般的想象力来理解历史，通过这种想象力，日常生活中的专门用语发生了变化——在这里，“帐”的含义被“幕”替代。<br /> <br /> 20世纪10年代中期，《礼拜六》和《游戏杂志》经常刊登周瘦鹃的“影戏小说”——即他对自己在影院观看过的影片叙述。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 09:21, 5 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[ Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.] However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession.<br /> 在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。<br /> <br /> 写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 &quot;屏风记忆 &quot;的方式回忆爱人：闭上眼睛后，在 &quot;雪白的屏风&quot;上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，&quot;屏风 &quot;上显示的东西被口头化了，文字也被视觉化了。有了 &quot;张 &quot;和 &quot;亩 &quot;两个意思，&quot;幕 &quot;就可以变成 &quot;屏&quot;，在 &quot;屏 &quot;上投射出作者告白的婚房内部空间。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:37, 3 December 2020 (UTC)<br /> <br /> ==Chen Jiangning 陈江宁==<br /> “In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[ Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ] Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper.<br /> 《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:09, 4 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.<br /> <br /> This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema. <br /> ==Chen Jingjing 陈静静==<br /> While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[ Ibid., 20-37.] In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[ Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).] <br /> ==Chen Sha 陈莎==<br /> It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder. <br /> <br /> The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ] <br /> ==Chen Sunfu 谌孙福==<br /> Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[ Ibid., 48. ]<br /> <br /> As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:31, 3 December 2020 (UTC)<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:24, 4 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader. <br /> ==Cheng Yusi 成于思==<br /> However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[ Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical. <br /> <br /> Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.<br /> <br /> 然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。<br /> 周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 09:12, 4 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.” <br /> ==Ding Daifeng 丁代凤==<br /> Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.<br /> ==Fang Jieling 方洁玲==<br /> Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.<br /> ==Gan Fengyu 甘奉玉==<br /> According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.<br /> ==Gao Mingzhu 高明珠==<br /> Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.” <br /> ==Gong Yumian 龚钰冕==<br /> The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work. <br /> <br /> Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.<br /> ==Gu Dongfang 顾东方==<br /> A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.<br /> <br /> Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded. <br /> ==Guan Qinqing 管钦清==<br /> Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[ Habermas, 47.] <br /> ==Gui Yizhi 桂一枝==<br /> As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.<br /> ==Guo Lu 郭露==<br /> '''Eileen Chang and the Modern Essay'''<br /> <br /> Nicole Huang<br /> <br /> '''Abstract'''<br /> <br /> In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:22, 3 December 2020 (UTC)<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:50, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Han Haiyang 韩海洋==<br /> Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form. <br /> ==Han Wanzhen 韩宛真==<br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation. <br /> <br /> I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.<br /> <br /> 尽管言语被描述为像流淌着的水，而杂文类型却被比作“闲话”或悠闲谈话的流畅构造，但张爱玲在这里对自己写作的命名不仅提供了对文学写作实践的评论。 更重要的是，应将文体的重命名理解为女作家对中国近代历史上特定时期的文化生产状况的评论，其特征是战争和占领引起的巨大动荡和破坏。<br /> <br /> 我认为张爱玲的时间，空间和上海被占领这样的特殊历史环境的经验被用在她重新定义现代论文的通用身份的尝试中。 论文形式的选择对于张爱玲的审美观至关重要。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 08:46, 5 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure. <br /> <br /> The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. <br /> ==Hu Baihui 胡百辉==<br /> My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:33, 4 December 2020 (UTC)<br /> <br /> 本文着重论述了张爱玲散文创作中概念化生活的两个方面：一是现代公寓空间作为城市景观的边缘场所；二是时尚话语作为一种重要的物质意识形式。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个开放的、持续的过程，而且成为文学世界与更广泛的社会领域之间边界不稳定和持续变化的试验场所。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记偶然性成为构建新时代传奇的重要文本手段。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:46, 5 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[ See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977). The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]<br /> <br /> 张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 06:52, 4 December 2020 (UTC)<br /> <br /> 张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:26, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.<br /> <br /> 张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。<br /> <br /> 张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:09, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.<br /> <br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[ For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45. Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[ See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei. The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.] But the study of Chang’s essay writing is a different story.<br /> <br /> 张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:02, 4 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[ Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories. He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins). I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war. The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend. Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts. See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).] While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.<br /> ==Jiang Qiwei 蒋淇玮==<br /> Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China. While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers. Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation. The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood. <br /> ==Kang Haoyu 康浩宇==<br /> The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention. And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[ Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing. The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique. These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts. See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]<br /> <br /> 杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:04, 4 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Most of the women writers in 1940s Shanghai experimented with essay writing. In fact, women produced a larger quantity of essays than any other literary genre. In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form. Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated. The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.<br /> ==Kong Xianghui 孔祥慧==<br /> In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre. I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.<br /> ==Kong Yanan 孔亚楠==<br /> The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure. The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.<br /> <br /> 在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:36, 4 December 2020 (UTC)<br /> <br /> 20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:50, 5 December 2020 (UTC)<br /> <br /> 在20世纪40年代，女作家张爱玲在上海城市文化领域中的自我定位体现在她对该类题材的运用上。 我将分析张爱玲的这段时期的散文写作，以展示该流派如何成为一个重要的话语场所，在那儿女作家公开挑战文学习俗，在文学写作和日常生活实践中寻找替代品，并将自己提升为重要的文化人物。 这部文学作品的独特之处在于，它展现了战时职业背景下的女性文学作品，同时与20世纪40年代的上海商业和印刷文化交流互动。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 08:50, 5 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''Essay and the aesthetics of liminality'''<br /> <br /> How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay? While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:<br /> ==Lei Kuangxi 雷旷溪==<br /> Alone I sit next to a candle, thinking about the past and the present. What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.<br /> <br /> I was alone on the dusky balcony after Su Qing left. Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness. At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a full moon, rising crimson above the city. I thought to myself, “so this is what they mean by turbulent times.” In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.<br /> ==Li Haiquan 李海泉==<br /> I pondered the fate of many people, including myself. I began to have a melancholy sense of what we call destiny. Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad. When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[ See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]<br /> <br /> This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself. Here, history is visualized, flattened, and inevitably spatialized. The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play. <br /> ==Li Lili 李丽丽==<br /> History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning. Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:<br /> <br /> In this era, the old things are falling apart, while the new ones are still in formation. Before the high tide of the era arrives, all certainty is but an illusion. We feel that everything in our everyday life is out of order to a terrifying degree. An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted. In order to prove our own existence, we want to grasp onto something that is real, something fundamental. We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.<br /> <br /> 张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子：<br /> 在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:21, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> Looking back helps us regain more clarity and closeness than we might gazing far into the future. We then have a strange feeling about the reality that surrounds us. We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time. Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[ See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944. This translation is based on an earlier version by David Wang. See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]<br /> <br /> 回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:15, 3 December 2020 (UTC)<br /> <br /> 回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:02, 3 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings. The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space. Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events. The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:<br /> <br /> ==Li Luyi 李璐伊==<br /> An individual can afford to wait, but an era is transient (''cangcu''). Things are being torn apart, and an even larger destruction is on its way. Someday our civilization, no matter how glorious, will become the past. I often use the word “desolation” (''huangliang'' 荒涼) because there is a premonition of impending danger underlying my thought. <br /> At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself?<br /> Make yourself famous as early as possible! If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!<br /> <br /> 一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:32, 3 December 2020 (UTC)<br /> <br /> 一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 4 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> These short, choppy sentences deliver a sense of urgency. To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai. It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape. The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away. Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history.<br /> 这些简短、不连贯的句子给人一种紧迫感。选择通过写作来定位自己，与张爱玲对20世纪40年代上海特殊历史境遇的认识有关。这给人的感觉是，这个时代只是人类历史的一个过渡时刻，结束迫在眉睫，新的历史景观即将形成。因为迫切需要在瞬息万变的情况下“占据”一个空间并抓住某个转瞬即逝的时刻，所以必须成名。张爱玲的作品强调了一个非常私人的时刻，在这个时刻，任何个人的声音都可能被现代战争的猛烈冲击所粉碎，并最终被历史的废墟所吞没。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 05:59, 5 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history. The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.<br /> <br /> Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call ''the aesthetics of liminality''. One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu. The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry. The essence of essay writing lies exactly in its lack of essence or its eccentricity. The modern essay is a genre that is itself transitional.<br /> <br /> ==Li Yu 李玉==<br /> The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions. For instance, Chang’s essay entitled “Shuangsheng” (Duet) represents one of the most intrepid literary experiments undertaken during the period. The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing. In “Duet,” literary writing takes the form of a mini roundtable talk. At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language. The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:<br /> <br /> ==Lin Min 林敏==<br /> Having seated ourselves, we started chatting about a variety of things in great detail. When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”<br /> <br /> Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality. The fragmentary and all-inclusive qualities (''san'') of modern prose style (''sanwen'') had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.<br /> <br /> ==Lin Xin 林鑫==<br /> For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, ''Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s''. The roundtable talk became an instrumental cultural genre in 1940s Shanghai. It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display. Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.<br /> <br /> The structure of this essay also bears resemblance to that of a one-act play. The beginning passages can be viewed as stage descriptions. The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> “Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay. The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward. At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal. Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments. The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.<br /> <br /> ==Liu Bo 刘博==<br /> While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers) demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing. The title of the essay takes on double meanings: while ‘''siyu''’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life. The narrative voice in the essay whispers, murmurs, and gossips. Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes. The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present. <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The essay entitled “Tongyan wuji” (A Childish Discourse) presents another example of writing autobiography within the space of the modern essay. Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making. The following episode even makes a direct reference to cinema:<br /> <br /> I stood in front of the mirror and watched my trembling face, with tears falling down in streams. My face looked like a close-up in a movie. I told myself, grinding my teeth: “I want revenge. One day I will take my revenge.”<br /> <br /> Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them. The entire essay is put together by a series of long takes. Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments. Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure. The following passage from the same essay is a good example:<br /> <br /> ==Liu Liu 刘柳==<br /> Japanese printed fabrics. Each bolt is a work of art. Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image. A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics. A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white. Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……<br /> <br /> Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.<br /> <br /> 日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......<br /> <br /> 解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:56, 3 December 2020 (UTC)<br /> <br /> 日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……<br /> <br /> 阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:10, 4 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> '''Essay and the making of a new prose language'''<br /> <br /> Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language. In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella ''Lianhuantao'' (Linked Rings):<br /> <br /> I adopted the language from traditional fiction on many occasions when writing the novella ''Chain of Rings''. In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] ''Plum in a Golden Vase'' (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago. Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (''shuangchong juli''). ……<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language. By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language. For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as ''Plum in a Golden Vase'' and ''Dream of the Red Chamber''. <br /> <br /> ==Liu Yi 刘艺==<br /> What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period? The titles of both the essay collection ''Written on Water'' and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre. While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure. Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.<br /> <br /> In the opening passage of the essay “Tan nüren” (Talking about Women), collected in ''Written on Water'', in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:<br /> <br /> 那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集''写在水面上''和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:36, 3 December 2020 (UTC)<br /> <br /> 那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:06, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Westerners refer to sinister and cruel (''yinxian kebo'') women as ‘cats.’ I ran across a pamphlet recently, written in English, entitled ''Cats'', which does nothing else except condemn women. It is not that what is said in it has never been expressed by other people. Interesting remarks (''juanyu'') concerning women are scattered everywhere and it is just not easy to collect them all together. But here this pamphlet is really a compilation (''ji qi dacheng'') [of what has been said about women]. <br /> <br /> Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential. Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged. After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view?<br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:54, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本英文小册子是用英语写的，标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把这些言论收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:28, 5 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> And to what extent is Chang’s translation ‘faithful’ to the original text? The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition. The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay. One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique. Within these quotes, the message is complicated, and presented in several levels. Some of the quotes are reminiscent of an archetypal ‘male’ voice:<br /> <br /> <br /> ==Lou Cancan 娄灿灿==<br /> This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period. David Wang argues that the fictional world presented in the short stories in ''Romances'' points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist. See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in ''Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo'' (Heteroglossia: Chinese Fiction of 1930s and 1980s).<br /> <br /> 这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:01, 4 December 2020 (UTC)<br /> <br /> 虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:59, 4 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> “The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete. This is predictable. We just cannot be over-critical of them [women].” <br /> <br /> “If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.” <br /> <br /> “The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”<br /> <br /> The expected readers of the pamphlet ''Cats'' are married middle-class men. According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.” Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.<br /> <br /> “女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。”<br /> “如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。”<br /> “女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！”<br /> 短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:50, 4 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image. For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.<br /> <br /> Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences. However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages. Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic. The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’ This ‘look’ is interwoven with a sense of irony. This is even more explicit in some of her other quotes:<br /> <br /> ==Ma Juan 马娟==<br /> “A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar. We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” <br /> “Generally speaking, women do not need the variety of stimulants in their lives that men do. Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.” <br /> <br /> ==Ma Shuya 马淑雅==<br /> These quotes should be understood as mainly Eileen Chang’s own rendition. Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule. If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques. The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.<br /> <br /> ==Ma Zhixing 马智星==<br /> Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form. Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording. A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects? Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language. <br /> <br /> ==Meng Ying 孟莹==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities. <br /> <br /> ==Mo Ling 莫玲==<br /> In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details. In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.” Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.” Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.” See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her ''Woman and Chinese Modernity: The Politics of Reading Between West and East'' (Minnesota and Oxford: University of Minnesota Press, 1991) 85.<br /> <br /> Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.<br /> <br /> 在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 ''女性与中国现代性：中西方的阅读政治性''的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。<br /> <br /> 周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:53, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials. This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details. Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.<br /> <br /> ==Ou Rong 欧蓉==<br /> The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing. According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.” Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.” She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.” Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.” See Stimpson, ”The Somagrams of Gertrude Stein,” in ''The Female Body in Western Culture: Contemporary Perspectives'', edited by Susan Rubin Suleiman.<br /> <br /> 在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:10, 3 December 2020 (UTC)Ou Rong<br /> <br /> 在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:02, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.” Kristeva refers to this as ”a strategy of disintegration.” This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.” See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in ''Signs'' (Autumn, 1981).<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.<br /> <br /> 那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 03:40, 3 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact. The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda. While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged. It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’ Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.<br /> <br /> <br /> ==Peng Juan 彭娟==<br /> Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication. The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space. By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.<br /> <br /> '''Essay and the Invention of Life in Wartime'''<br /> <br /> In the preface to her 1988 collection entitled '''Xuji''' (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life:<br /> 张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:48, 3 December 2020 (UTC)pengjuan<br /> <br /> 张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。<br /> <br /> '''散文和战时的生活发现'''<br /> <br /> 在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 07:37, 4 December 2020 (UTC)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people. Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives? <br /> <br /> These sentiments could not have been expressed back in the 1940s. The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers. <br /> <br /> ==Peng Xiaoling 彭小玲==<br /> As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves. And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making. Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.<br /> <br /> 如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:13, 4 December 2020 (UTC)<br /> 如前所述,一个社会对女性知识分子的推动,最重要的力量莫过于女性作家本身。 而在所有文学体裁中,正是现代散文成为女作家自我提升和神话创作中最有力的表现形式。 &quot;散文&quot;为一种没有结构的生活贡献了具体的形式,换句话说,张爱玲、苏青等女性作家用现代散文的形式,构建了一个可以理解、想象和幻想的宇宙。 对日常生活经验的详细描述,即对物质世界文化意义的表述,不仅体现了动态的内心生活,而且表现了一种孕育中的新的社会认同。 在这一章中,我将着重介绍张爱玲散文写作中概念化的生活的两个方面：一方面是作为都市景观中有限场所的现代公寓的空间,另一方面是将时尚作为物质意识的重要形态的论述。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 06:20, 5 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> '''Passage from apartment to street'''<br /> <br /> In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life), Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:<br /> <br /> I would ride the wind, returning up there,<br /> but fear those marble domes and jade galleries<br /> the place so high, the cold is unbearable …… <br /> <br /> On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder. Ever since the price of coal soared , radiators in apartments have become purely decorative. The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (''Jiu quan'') down below. It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper. Even if we do not provoke it, the God of thunder still makes its power felt at any moment. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs. Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai. At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound. That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud. But I dare not complain anymore; the unemployed can easily fly into a rage.<br /> <br /> What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war. War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style. Chang’s depiction of the texture of an apartment life then can be read as a parable of war.<br /> <br /> 无缘无故，只听见不怀好意的&quot;嗡……&quot;拉长了半晌之后接着&quot;訇訇&quot;两声，活像飞机在顶上盘旋了一会，掷了两枚炸弹。在战时香港吓细了胆子的我，初回上海的时候，每每为之魂飞魄散。若是当初它认真工作的时候，艰辛地将热水运到六层楼上来，便是咕噜两声，也还情有可原。现在可是雷声大，雨点小，难得滴下两滴生锈的黄浆……然而也说不得了，失业的人向来是肝火旺的。<br /> <br /> 这是张爱玲散文开头的一段，其中最令人吃惊的是作者将日常经历与战争并举。战争在公寓住户的日常生活中是一个隐喻性的存在，喻指城市生活节奏的飘忽不定。于是我们可以将张爱玲对公寓生活的描写解读成对战争的比喻。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 10:19, 5 December 2020 (UTC)<br /> <br /> 无缘无故，只听见不怀好意的&quot;嗡……&quot;拉长了半晌之后接着&quot;訇訇&quot;两声，活像飞机在顶上盘旋了一会，掷了两枚炸弹。在战时香港吓细了胆子的我，初回上海的时候，每每为之魂飞魄散。若是当初它认真工作的时候，艰辛地将热水运到六层楼上来，便是咕噜两声，也还情有可原。现在可是雷声大，雨点小，难得滴下两滴生锈的黄浆……但我不敢再抱怨了，失业者很容易发怒。<br /> <br /> 这是张爱玲散文开头的一段，最引人注目的是如何将日常生活中的经历描绘成与战争的类似。战争在公寓住户的日常生活中是一个隐喻性的存在，喻指城市生活节奏的飘忽不定。于是我们可以将张爱玲对公寓生活的描写解读成对战争的比喻。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:32, 5 December 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong). Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces. The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime. The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning. Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time. See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan. Published in ''The Miscellany Monthly'' 12. 2 (November, 1943). Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan. In The ''Miscellany Monthly'' 15. 5 (August, 1945).<br /> <br /> Originally published in ''Heaven and Earth Monthly'' 3 (December, 1943).<br /> <br /> These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).<br /> <br /> 第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。<br /> 原刊于《天地月刊》第3期(1943年12月)。<br /> 这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:24, 5 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment. In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing. City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public. In Chang’s writing, the space of an apartment is presented as such a transitional site. It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary. But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture. <br /> <br /> ==Sagara Seydou ==<br /> For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai. Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:<br /> <br /> I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears. The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid. <br /> <br /> ==Shi Diwen 石迪文==<br /> Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world. This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm. And yet senses simply become more acute, and thoughts are given fresh new patterns. Here, we are witnessing the formation a new metaphysics of the everyday:<br /> <br /> I like to listen to street sounds. Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves. But it is the sound of a trolley that I must hear in order to fall asleep. On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley. People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place. The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys. Like neatly paralleled currents of sounds, they continuously flow into our subconscious. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> For Eileen Chang, an apartment is truly the center of urban life. Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions. Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime. If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space, the modern apartment is another important site on the mental map of a city under siege. The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created. Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.<br /> <br /> 对于张爱玲来说，公寓才是真正的城市生活中心。就像火车站一样，它作为一个起点，随时准备着把人的感官带到不同的方向。张爱玲的生活美学赋予了一种具体的空间形式，这种空间形式深深扎根于战时日常生活中。如果说沦陷的上海流行期刊的出版象征着一个想象空间的塑造，那么现代公寓则是围困城市心理地图的另一个重要场所。战时的侵略打乱了人们的生活圈，以及一切日常生活，但也创造了新的城市空间和体验。在这里，战争的存在强化了人们对城市的体验，形成了一种特殊的空间形态，即现代公寓。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 09:13, 5 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> Many feminist scholars have suggested the importance of studying spatial constructions. They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories. The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience. See, for instance, Jessica Benjamin, ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in ''Feminist Studies/Critical Studies'', edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).<br /> <br /> For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in ''Haishang wentan'' (March, 1994). Also see a photographic history in Tang Zhenchang, ed., ''Jindai Shanghai fanhua lu'' (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)<br /> <br /> In ”Interesting Moments in Apartment Life.”<br /> <br /> Ibid.<br /> <br /> See Nicole Huang, ''Written In the Ruins''.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In Chang’s vision, this spatial experience is also gendered. The image of an apartment dweller is gendered, and often female. “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified. Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning. Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights). <br /> <br /> In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）<br /> <br /> 在张爱玲看来，这种空间体验是有性别偏向的。公寓住户的形象也是有性别偏向的，而且通常指女性。张爱玲写道：“恐怕只有女人能够充分了解公寓生活的特殊优点”，因为公寓里的家务要简单许多。因此，女性可以更好地欣赏生活的鸡毛蒜皮；她甚至还可以欣赏早市新鲜蔬菜亮丽的颜色，享受做饭打扫房间的乐趣。张爱玲把这些日常小事再创造，有力地写在名为《中国的日夜》的散文中（中国：日日夜夜）。<br /> <br /> 引自《传奇》（增订本）（上海：山河图书公司，1946）（注释）--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:20, 5 December 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to. Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market. Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city. Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Life in apartment is then presented with many layers in Chang’s essay writing. In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets. On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:<br /> <br /> Designing shop windows is a fascinating job, since there is motionless drama in each display. ……… [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays. <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats. I did not wear western suits, had no need of a hat, and did not want to buy one. And yet I still looked at them with admiring eyes…… <br /> <br /> This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.” At the present time within the essay, a different layer of images are highlighted. We see various street corners scattered in less prestigious neighborhoods of the metropolis. Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:<br /> <br /> ”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> There are many scenes on the streets that are worth another glance. At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack. The rickshaw man is squatting down on the ground, trying to light up an oil lamp. It is getting dark, and the lamp by the woman’s feet slowly brightens. <br /> <br /> Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre. The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.<br /> <br /> 街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。<br /> <br /> 在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。<br /> <br /> 大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。<br /> <br /> 在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:12, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past. Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space. Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life. The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city. The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory. Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.<br /> <br /> 进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。<br /> <br /> 张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:38, 4 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> – '''Fashion talk''' – <br /> To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life. Chang’s discussions of fashion demonstrate her fascination with an inner vision. By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.<br /> <br /> In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings. Her writing is known for its meticulous attention to details, particularly clothes. <br /> <br /> ==Tao Ye 陶冶==<br /> <br /> For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters), through the clothes of female servants, a portrait of this old-style family is introduced. Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying. Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.<br /> <br /> It is in Chang’s essay writing that a discourse of fashion is passionately elaborated. Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes), in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.<br /> <br /> In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）<br /> <br /> In Past and Present Bi-weekly 34 (December, 1943). Originally written in English and published in the English language journal XXth Century.（注释）<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:<br /> <br /> Men have more freedom in their life than women do. Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing]. <br /> <br /> Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:<br /> <br /> Clothes seem trivial and not worth mentioning. Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.” But for women, it is much easier to cherish their clothes than their husbands. <br /> <br /> From ”A Chronicle of Changing Clothes.”<br /> <br /> Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities. See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves. The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”<br /> <br /> Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).<br /> <br /> Narrative Fiction.” For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche. This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）<br /> <br /> For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in ''Jindai Zhongguo funüshi yanjiu'' (Studies of Women’s History of Modern China) 4 (August, 1996). Also see her dissertation entitled ''Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949'' (New York University, 1997).（注释）<br /> <br /> ==Wang Yu 王煜==<br /> <br /> But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses. “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!” The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune! The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.<br /> <br /> 这篇文章《换衣纪事》不仅仅只是梳理出隐藏在时尚话语中的性别范畴。张爱玲写道：“我们无法想象过去几代人的世界，如此闲散，如此安静，如此井井有条，在清朝满洲统治的三百年里，竟连这样一个叫女装的东西都没有！副词“竟”，暗含着一种震惊：三百年来女人连时尚未曾有，怎么会有人能忍受这样的不幸！对女装的强调似乎是现代与过时世界的一个里程碑。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:01, 5 December 2020 (UTC)<br /> <br /> 但这篇文章《变化的服装编年史》(A Chronicle of Changing Clothes)所做的，远不止是梳理出嵌入时尚话语中的性别类别。张爱玲写道:“我们真的无法想象过去几代人的世界是如此闲适，如此安静，如此有条理。在清朝满洲统治的三百年里，甚至没有(竟)这样一种叫做女性时尚的东西!副词“惊”的使用暗示着一种惊讶:女性甚至三百年来都没有时尚，谁能忍受这样的不幸!对女性服装的重视似乎是区分现代和古老世界的一个里程碑。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:54, 5 December 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.<br /> <br /> Chang’s account then turns history into a stage presentation. Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes. Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion. <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> History is turned into a fictional narrative. More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space. Through a personification of clothes, Chang has created an animation effect in her world of changing fashion. Clothes replace human voices; clothes become language itself.<br /> <br /> In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture. By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history. The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.<br /> <br /> In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life. He views fashion as a signifier of modernity and a theatricalization of social transformations. For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban. <br /> <br /> Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes. Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:<br /> <br /> The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.<br /> <br /> 西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质:<br /> 都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:10, 3 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded. Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence. <br /> <br /> Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision. But Chang has gone well beyond Simmel. She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm. <br /> <br /> See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）<br /> <br /> 在某种程度上，大都市创造了这些心理条件——每过一次街道，伴随着经济、职业和社会生活的节奏和多样性——它创造了精神生活的感官基础，以及我们组织作为依赖差异的生物所必需的意识程度与节奏较慢、习惯性较强、流畅流畅的节奏感形成鲜明对比的是小城镇和乡村的存在状态。<br /> <br /> 西梅尔的这番话有助于说明张爱玲的美学视野是如何将时尚话语置于中心的。但张爱玲已经超越了西梅尔。她将都市主义、现代性和女性气质融入到她的时尚创作中，作为一种新的文化范式。<br /> <br /> 参见西梅尔，“大都市与精神生活”（1903年），《论个性与社会形式：精选著作》，325。（注释）--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:18, 5 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time. More importantly, Chang’s fashion stories can also be read as parables of war. Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege. In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time:<br /> In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking. “What am I going to do? I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese. She had a different wardrobe for every social occasion. From a dance party on a yacht to a formal dinner, she was always sufficiently equipped. But she never imagined that there would be a war.<br /> <br /> 张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:21, 3 December 2020 (UTC)<br /> <br /> 张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意：<br /> 在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:33, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above. When it was time to flee we all went our separate ways. I saw her again when the war was over. She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man. <br /> <br /> 她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。<br /> <br /> Indeed our different responses to the war are reflected in our choice of clothes. Take Suleika for example. A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.<br /> <br /> 事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 13:51, 4 December 2020 (UTC)<br /> <br /> 事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 00:35, 5 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Like most girls who had a convent education, she was naive to an embarrassing degree. She chose to major in medicine, which means that she had to learn to dissect human bodies. But did the corpses have clothes on or not? The question bothered her, so she was asking people about it. This had become quite a joke around our school. <br /> <br /> A bomb landed next to our dorm, so the warden had to convince us to flee down the hill. Even in such emergency, Suleika did not forget to pack up her most lavish clothes. Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.<br /> <br /> 她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。<br /> <br /> 一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:23, 4 December 2020 (UTC)<br /> <br /> 像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。<br /> <br /> 一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:56, 4 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Suleika then joined the defense force, working as a substitute nurse for the Red Cross. She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity). What a waste, but for her it was all worth it. This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. …… <br /> <br /> Here, Chang’s war stories are interwoven with talks of fashion.<br /> <br /> “Stories from the Ashes,” in ''Heaven and Earth Monthly 5'' (February, 1944).<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.<br /> <br /> The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:<br /> <br /> ……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home. Fish scraps and pale green corn husks litter the ground.<br /> <br /> <br /> 时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。<br /> <br /> 《更衣记》这篇文章的结尾也包含了一个寓言:<br /> <br /> ......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:50, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> A child dashes over on his bike just to show off. He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while. At that split second, everyone on the street watches him with an indefinable admiration. Perhaps in this life that moment of letting go is the very loveliest? <br /> <br /> This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life. It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.<br /> <br /> Translated by Andrew F. Jones.（注释）<br /> <br /> 一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:55, 5 December 2020 (UTC)Xiao Ting<br /> <br /> 一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的? <br /> <br /> 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:59, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:42, 4 December 2020 (UTC)Xiao Xi<br /> <br /> 在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:28, 4 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> '''Perspectives on Ideology in the Essay'''<br /> <br /> '''Zhu Ziqing, Frantz Fanon, and the Fierce White Children'''<br /> <br /> ''Daniel A. Fried''<br /> <br /> '''Abstract'''<br /> <br /> All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay. And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.<br /> <br /> “论文中的意识形态观点”<br /> <br /> “朱自清，弗朗茨·法农，和凶猛的白人孩子”<br /> <br /> “丹尼尔A.弗里德”<br /> <br /> “概要”<br /> <br /> 所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文.<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 11:25, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models. Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself. While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.<br /> <br /> This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays. <br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.<br /> <br /> Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories. The same could be said of all genres of the period, but the essay has a special claim on postcolonialism. All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs. <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature. For example, Rey Chow in her 1993 ''Writing Diaspora'' produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism. Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies. <br /> <br /> Rey Chow, ''Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies''. (Bloomington: Indiana University Press, 1993).（注释）<br /> <br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:57, 4 December 2020 (UTC)<br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。<br /> Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:15, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xu Jing 许静==<br /> <br /> We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus? One could dive into polemics, but a decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.” We need more nuanced approaches. In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach. The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament. <br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves. The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood. The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized.<br /> 弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:06, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived. Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.<br /> <br /> 如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:39, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> 如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:29, 4 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical ''Black Skin, White Masks''), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!” Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis. And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience. Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.<br /> <br /> 作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:35, 3 December 2020 (UTC)Yang Chenting<br /> <br /> 作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)<br /> <br /> [[File:Example.jpg]]==Yang Hairong 杨海容==<br /> <br /> “The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's. Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative. Fanon writes a sort of psychoanalytically fueled prose poem. There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head, what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..<br /> <br /> Not necesssarily Fanon's. In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity.&quot; Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16. The wording here suggests a fictional narrator. Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）<br /> <br /> <br /> “黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。<br /> <br /> <br /> 不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:<br /> <br /> “Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.<br /> <br /> “Look, a Negro!” It was true. It amused me.<br /> <br /> “Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.<br /> <br /> “Mama, see the Negro! I'm frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.<br /> <br /> <br /> <br /> 这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：<br /> <br /> “看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。<br /> <br /> “看，一个黑人！”是真的。我很开心。<br /> <br /> “看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。<br /> <br /> “妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:18, 3 December 2020 (UTC)<br /> <br /> 这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:<br /> <br /> “看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。<br /> <br /> “看,一个黑人!”这是真的。这太好笑了。<br /> <br /> “看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。<br /> <br /> “妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:14, 3 December 2020 (UTC)<br /> <br /> 这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音：<br /> “看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。<br /> “看，一个黑人！”这是真的。它逗乐了我。<br /> “看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。<br /> “妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:41, 3 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder. Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish. He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative. Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter. <br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology. In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration. Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well. And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”<br /> <br /> 尽管如此，这个白人孩子确实扮演了一个重要的角色，因为他实际上是Fanon自己恼怒的叙述声音的怪诞衬托，这是对种族、发展心理学叙述的重写。特别是雅克·拉康著名的“镜像舞台”理论，显然是其主要灵感来源。尽管法农在本章中从未明确提及拉康或“镜子舞台”，但这样的提及在黑皮肤、白面具中比比皆是——毫无疑问，法农非常了解这个范式。他的叙述结构与拉康的解释平行，甚至可以说《黑人的事实》是对《镜子舞台》的讽刺重写。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:49, 5 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions. But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time. The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity. In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.” <br /> <br /> ==Yao Cheng 姚诚==--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> In contrast, Fanon only reaches his version of the mirror stage ''after'' passing through objectification and restoration to subjectivity. His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above. But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:<br /> <br /> The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (''un relief de stature'') that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.<br /> <br /> 相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：<br /> <br /> 事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:17, 4 December 2020 (UTC)<br /> <br /> 相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：<br /> <br /> 实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Fanon's mirror is of course the White. In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that ''perversion'' of his Self that he is allowed to know himself. And, moreover, that inversion is ''fixed'' in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye. No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image. Does Fanon feel a universal, rational soul animating himself? Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity? It does not matter. The mirror is impervious and flat. His image is fixed.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.” For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,” he is created by the White reality.<br /> <br /> That relation is an average of many different species of dominance. But perhaps more than any other, it is the dominance of an adult over a child. Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.” <br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> “Gently, in the tone that one uses with a ''child'', they introduced me to the existence of a certain view that was held by certain people.” “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our ''children''-to the innocent, the ingenuous, the spontaneous. We will turn to you as to the ''childhood'' of the world.” (italics mine) The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté. He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his ''I'', but the mirror always gives him back his infant inverse. He cannot realize himself, he can never leave the mirror stage, he is ''fixed''.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The white child is thus a point of entry into the subsurface struggle of the text. The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[ Fanon, 114.] The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[ Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White. But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape. One might even profitably read this mirroring as a form of mimicry. <br /> <br /> ==Yu Ni 余妮==<br /> <br /> In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized. Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[ Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.] However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[ Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.] Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact ''being assaulted'' by the boy's unwitting mimicry of his weakness.<br /> <br /> The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.” And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms. Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.<br /> <br /> “White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”<br /> <br /> 男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。<br /> 因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。<br /> “白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:05, 4 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages. The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers. Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone. On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers. In response, British troops arrested a hundred of those assembled. News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release. At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.<br /> <br /> 1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.<br /> <br /> The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley. After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son. Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun. He admits that he loves to stare at young children, and that he stared therefore at the white child.<br /> <br /> 各行各业的抗议行动在全国范围内一触即发，包括了几个文学的抗议行动，其中就有朱自清的两部作品，其一是创作于6月10日的诗篇《血歌》，表现了火山爆发式的强烈情感，九天后，朱自清又写下另一篇文章《白种人——上帝的骄子》。<br /> 虽然这篇文章从未明确指出“五卅”惨案，但朱自清在上海的一路电车上的亲见亲闻刚好记述和解释了这次事件的情况。朱上电车之后，走进头等座里，和两个白种人并排而坐，他猜想那两人是一对父子。小男孩看上去十一二岁的样子，他惊羡于小男孩的可爱容貌，解释说自己多么想要跟这个男孩亲近，因为这让他想起了自己初中时的一个叫做刘君的玩伴，也是一个害羞的小男孩。他承认自己喜欢凝视小孩子，所以才会对这个白人小孩多看了几眼。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:39, 5 December 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu. The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look! You are worthy of looking at me!” Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged. He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories. Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.” Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.<br /> <br /> 与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:33, 4 December 2020 (UTC)<br /> <br /> 和大多数的孩子不同，白人小孩起初没有注意到朱的目光，当感觉到有人在看他后，他和父亲正要下电车，接着小孩向朱回了恶狠狠的目光。朱从他的怒视中读到：“咄！黄种人，黄种的支那人，你——你看吧！你也配看我！”朱从中感觉遭到了人身攻击，首先是张皇失措，而后他的爱国热枕喷涌而出。他解释说自己盼望的是国籍优先的普遍主义，可是眼看这个孩子小小年纪就已被社会所同化，接受了种族主义，他便开始怀疑普遍主义是否还有实现的可能。然而，他对孩子展现出来的男性力量表示赞赏，“这正说明了白人之所以为白人”。最后，他陷入了民族主义和普遍主义的矛盾之中，直到结尾，文章也未给出解决的方案。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:50, 5 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of ''personal'' identity. This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity. Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other. And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.” But the incident does not fit the mirror-stage model as transmitted by Fanon.<br /> <br /> 鉴于法农对西方后殖民的祈祷，某人从西方角度来看可能希望朱自清对带有个人身份危机的小孩的凝视作出回应。毕竟，这是法农在“黑暗事实”中的奥德赛追求：为自己谈判或夺取有价值的自我空间，反对法国白人的贬低之声，试图使他陷入一个不同于自己、不同于人性可能性的不同物中。朱自清的反应确实很适合自己-他人的修辞：他对白人小孩的经历很像白人与其他人的经历。这一事件深深地伤害了我：“这次突然袭击使我感到恐慌；我的心是空虚的，四面都是沉重的压力，使我无法自由地呼吸。”但该事件不符合法农传递的镜像阶段模型。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 5 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself.<br /> Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response. After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!” He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:<br /> <br /> That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”! I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face. This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[ Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]<br /> <br /> Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his ''theoretical'' realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut. The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history. And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.<br /> <br /> 但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。<br /> 正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:36, 3 December 2020 (UTC)<br /> <br /> 但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:42, 4 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing. Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity. Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task. Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities. Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity. There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.” <br /> <br /> ==Zhang Hui 张慧==<br /> On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.<br /> <br /> Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature. But the standard history does happen to match the particulars of these two authors' educational trajectories. The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride. <br /> <br /> And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.<br /> <br /> 相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。<br /> <br /> 在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。 <br /> <br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> <br /> 相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。<br /> 到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。<br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:19, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Normally, Zhu Ziqing is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text. Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?<br /> <br /> If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma. The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare. The key to this portal is that that stare, as it happened empirically, was complete unto itself.<br /> <br /> 朱自清可以算得上最后一位与激烈的民族主义联系在一起的作家，相反，他通常只专注于法侬文本中所特有的那种心理反省。从个人经历到民族主义反思的迅速转变是否部分原因是由于“五卅惨案”的影响?<br /> <br /> 如果你有意忘记掉这篇文章“五卅惨案”的背景，而把重点放在朱叙述事件的细节上，那么这篇文章就开启了另一个层面的解读，一个充满法农式的心理创伤的解读。这篇文章最广阔的内部入口也是它明显的症结所在：即白人儿童的凝视。这个入口的关键是那种凝视，好像它是凭经验发生的，是完全独立的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 07:42, 5 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> It was an act, an aggressive act, unaccompanied by words. When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes. But yet the language admits its paternity: not the child, but Zhu himself. Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears. Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say. No doubt, the child was acting racistly. But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated. He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better. For Zhu's stare was not the first the boy had received. Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority. The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming. This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Moreover, it is Zhu who initiated this discomforting dialogue of stares. Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic. As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of ''identity ''and alienates it from essence,”[ Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries. Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.<br /> <br /> And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[ Zhu, 43.]<br /> <br /> <br /> 此外，正是朱自清发起了这场令人不安的凝视的对话。朱自清的儿子和法侬的儿子一样，是个模仿者，尽管他的模仿也有问题。正如霍米·巴巴所说，“监视的目光作为被训练者取代的凝视回归，观察者成为被观察的对象，‘部分表征重新表达了“身份”的整个概念，并将其与本质分离，’”[霍米·巴巴, 89。]但在这种情况下，模仿的目光是殖民者的目光，而这种目光的回归正是建立了种族界限。当然，朱自清认为这种模仿是殖民侵略的一个例子;只有这个男孩可能会想到，用霍米·巴巴的话说，这种盯着他看的眼神是他抵御种族主义侵犯隐私的防御机制。<br /> <br /> 朱自清最初的凝视显然带有种族主义色彩(虽然不是种族主义);他沾沾自喜地欣赏着这个男孩的高加索气质:“他那雪白的脸颊上满是红晕，长长的金色睫毛流露出一种平和优雅的气质。”--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 09:10, 5 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun. Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression. Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy. Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.<br /> <br /> Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes. It is not therefore simple. Consider the bizarreness hidden in his self-justification:<br /> <br /> 当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:14, 4 December 2020 (UTC)<br /> <br /> 当然，朱自清试图掩盖这一事实，这是刘军（Liu Jun）谈及过的主要的修辞功能。没有那种短小叙事，朱自清将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱自清的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱自清宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱自清的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 08:16, 5 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy. Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him! I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!<br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:22, 3 December 2020 (UTC)<br /> <br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:06, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women. I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice. Therefore I was very bold. This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![ Zhu, 43.]<br /> <br /> ''Sexuality! ''is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.” And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world. Zhu's relationship with children is therefore predicated by his dominance of them. He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[ The evidence for Zhu's child-fetish is strongly corroborated by his other work. Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse. ]<br /> <br /> Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated. Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved.<br /> <br /> 小刘死了，但是现在有其他人围着朱自清打转；他不能像抚摸小刘那样摸其他孩子，这在社会上是不可能的，但作为补偿，他可以免受惩罚地盯着他们几十次。 孩子们对他的凝视并不反感，他们是温顺的——顶多就是在朱先生对他们世界的视觉侵扰下不舒服地扭动下。 因此，朱自清与孩子的关系由他对孩子的支配地位决定。 他在这一段的开头说，他想和孩子们亲密，但这种亲密是权力强迫所致。（朱自清的恋童癖在他的其他作品中得到了有力的证实。 除了在著名的《背影》等作品中对童年的关注外，在他的另一篇散文《孩子们》中，甚至明确承认对儿童有进行身体上的虐待。）<br /> <br /> 鉴于这些奇怪的承认，人们认为朱自清凝视白人孩子时的反应要复杂得多。 朱先生将这种凝视视为种族主义，这或许正确的；然而，他显然也对所涉及的权力倒置感到震惊。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 08:13, 5 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child. When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring. Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.<br /> <br /> Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which life in France causes him.<br /> <br /> 他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:16, 3 December 2020 (UTC)<br /> <br /> 他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:43, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley. Zhu's white boy is visually even more of a mirror image to him than Fanon's was. The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination. Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan. He cannot wander between psychological theory and personal experience in the same fashion Fanon did.<br /> 如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology. This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions.<br /> 但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> 不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:53, 3 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun. And Zhu's fascination with children and childhood in other essays should be an indication that something is up. Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power. It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.<br /> <br /> What makes Zhu feel nationalistic pride? It is not the boy's reaction, but his race.<br /> <br /> 但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:43, 3 December 2020 (UTC)<br /> <br /> 但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:19, 4 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so. Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting. The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident. To Zhu's mind, it was not the child's whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination. He essentializes the incident: force is what makes whites white. A gaze on a bus becomes an allegory for the sweep of modern history.<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre. Is it really a defense mechanism against the revelations of his own psychology? Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai? Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925? I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road. But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (''Xiaoshuo yuebao and Wenxue zhoukan''), none but his strays so far from the event of the massacre itself in order to support the national cause. It is legitimate to ask why.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion. Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production. They are invisible to us, as informed readers, but only on our first readings. The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!” The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.<br /> <br /> 因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:16, 4 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon. His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it. It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant. Yet ''Black Skin, White Masks'' is filled with partial autobiographies. One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better. Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience. Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.<br /> <br /> 这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:54, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique. Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions. Tension is healthy. If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.<br /> <br /> The great frustration of the work of comparison is its inability to aspire to totalisms. However conscious we are of the danger of such aspirations, they are magnetic and insinuating.<br /> <br /> 这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。<br /> <br /> 比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 07:00, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the most appropriate. The comparison of individual works requires resignation to pettiness. Any other permutation of works will produce different, perhaps contradictory, lessons. For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it. Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably. The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.<br /> <br /> 从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:02, 4 December 2020 (UTC)<br /> <br /> 从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:22, 4 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture<br /> '''<br /> Charles A. Laughlin<br /> <br /> '''Abstract'''<br /> <br /> The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature. <br /> <br /> Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party. Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue. Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period. Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures. <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay: Liu Baiyu, Qin Mu and Yang Shuo. Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment. Socialist ''sanwen'' differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes. But traces of the conspicuous individuality of Republican period ''sanwen'' lived on in the essayists of the 1950s and 60s. This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose. Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda. Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd. The problem is, as I was aware at the time, there are prominent authors in the PRC – Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen). <br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> At that time, I dismissed this phenomenon in the usual way: these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.<br /> <br /> But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the ''xiaopin wen'' popular the 1930s, while there was already in ''baogao wenxue'' a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society. To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of ''sanwen'' as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the ''sanwen'' form in the PRC to something inherent about ''sanwen'' and Chinese literary modernity. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the ''sanwen'' under Chinese socialism.<br /> <br /> '''Socialist ''sanwen'' emerged from Communist base area writing practice''' <br /> <br /> Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party. Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders. Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[ The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]<br /> <br /> <br /> 我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。<br /> <br /> '''社会主义散文是从共产主义根据地写作实践中产生的'''<br /> <br /> 延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。</div>

Wu Kai https://bou.de/u/index.php?title=20201207_trans&diff=107402 2020-12-05T10:19:00Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[ Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915). Zhou should (June, 1922).] <br /> ==Chang Huiyue 常慧月==<br /> The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects. <br /> <br /> However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.<br /> ==Chen Han 陈涵==<br /> As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[ Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.] Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen). <br /> <br /> In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters.<br /> <br /> 正如轶闻流传的那样，为了抚慰他痛失挚爱，一位巫师把一个房间装上帘子，要求皇帝保持一定距离。夜幕降临后，在巫师的召唤下，灵魂出现在窗帘后，在烛光中晃动，仿佛她还活着。[周瘦鹃，“谈影戏”，《紫罗兰集》(上海: 大东书局, 1922) 13-14。 它的早期版本“影戏话”出现在《申报》(1919年6月20日): 15的文学专栏《自由谈》中] 尽管周瘦鹃的诠释具有历史意义，但此处的重要意义在于他以电影般的想象力来理解历史，通过这种想象力，日常生活中的专门用语发生了变化——在这里，“帐”的含义被“幕”替代。<br /> <br /> 20世纪10年代中期，《礼拜六》和《游戏杂志》经常刊登周瘦鹃的“影戏小说”——即他对自己在影院观看过的影片叙述。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 09:21, 5 December 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[ Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.] However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession.<br /> 在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。<br /> <br /> 写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 &quot;屏风记忆 &quot;的方式回忆爱人：闭上眼睛后，在 &quot;雪白的屏风&quot;上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，&quot;屏风 &quot;上显示的东西被口头化了，文字也被视觉化了。有了 &quot;张 &quot;和 &quot;亩 &quot;两个意思，&quot;幕 &quot;就可以变成 &quot;屏&quot;，在 &quot;屏 &quot;上投射出作者告白的婚房内部空间。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:37, 3 December 2020 (UTC)<br /> <br /> ==Chen Jiangning 陈江宁==<br /> “In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[ Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ] Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper.<br /> 《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:09, 4 December 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.<br /> <br /> This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema. <br /> ==Chen Jingjing 陈静静==<br /> While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[ Ibid., 20-37.] In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[ Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).] <br /> ==Chen Sha 陈莎==<br /> It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder. <br /> <br /> The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ] <br /> ==Chen Sunfu 谌孙福==<br /> Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[ Ibid., 48. ]<br /> <br /> As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:31, 3 December 2020 (UTC)<br /> <br /> 周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]<br /> <br /> 随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:24, 4 December 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader. <br /> ==Cheng Yusi 成于思==<br /> However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[ Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical. <br /> <br /> Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.<br /> <br /> 然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。<br /> 周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 09:12, 4 December 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.” <br /> ==Ding Daifeng 丁代凤==<br /> Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.<br /> ==Fang Jieling 方洁玲==<br /> Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.<br /> ==Gan Fengyu 甘奉玉==<br /> According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.<br /> ==Gao Mingzhu 高明珠==<br /> Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.” <br /> ==Gong Yumian 龚钰冕==<br /> The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work. <br /> <br /> Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.<br /> ==Gu Dongfang 顾东方==<br /> A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.<br /> <br /> Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded. <br /> ==Guan Qinqing 管钦清==<br /> Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[ Habermas, 47.] <br /> ==Gui Yizhi 桂一枝==<br /> As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.<br /> ==Guo Lu 郭露==<br /> '''Eileen Chang and the Modern Essay'''<br /> <br /> Nicole Huang<br /> <br /> '''Abstract'''<br /> <br /> In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:22, 3 December 2020 (UTC)<br /> <br /> 张爱玲及现代小说<br /> <br /> 黄群兰<br /> <br /> 摘要<br /> <br /> 在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:50, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> ==Han Haiyang 韩海洋==<br /> Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form. <br /> ==Han Wanzhen 韩宛真==<br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation. <br /> <br /> I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.<br /> <br /> 尽管言语被描述为像流淌着的水，而杂文类型却被比作“闲话”或悠闲谈话的流畅构造，但张爱玲在这里对自己写作的命名不仅提供了对文学写作实践的评论。 更重要的是，应将文体的重命名理解为女作家对中国近代历史上特定时期的文化生产状况的评论，其特征是战争和占领引起的巨大动荡和破坏。<br /> <br /> 我认为张爱玲的时间，空间和上海被占领这样的特殊历史环境的经验被用在她重新定义现代论文的通用身份的尝试中。 论文形式的选择对于张爱玲的审美观至关重要。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 08:46, 5 December 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure. <br /> <br /> The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. <br /> ==Hu Baihui 胡百辉==<br /> My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:33, 4 December 2020 (UTC)<br /> <br /> 本文着重论述了张爱玲散文创作中概念化生活的两个方面：一是现代公寓空间作为城市景观的边缘场所；二是时尚话语作为一种重要的物质意识形式。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个开放的、持续的过程，而且成为文学世界与更广泛的社会领域之间边界不稳定和持续变化的试验场所。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记偶然性成为构建新时代传奇的重要文本手段。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 07:46, 5 December 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[ See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977). The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]<br /> <br /> 张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 06:52, 4 December 2020 (UTC)<br /> <br /> 张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:26, 4 December 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.<br /> <br /> 张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。<br /> <br /> 张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:09, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.<br /> <br /> While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[ For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45. Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[ See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei. The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.] But the study of Chang’s essay writing is a different story.<br /> <br /> 张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:02, 4 December 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[ Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories. He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins). I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war. The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend. Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts. See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).] While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.<br /> ==Jiang Qiwei 蒋淇玮==<br /> Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China. While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers. Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation. The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood. <br /> ==Kang Haoyu 康浩宇==<br /> The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention. And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[ Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing. The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique. These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts. See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]<br /> <br /> 杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:04, 4 December 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Most of the women writers in 1940s Shanghai experimented with essay writing. In fact, women produced a larger quantity of essays than any other literary genre. In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form. Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated. The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.<br /> ==Kong Xianghui 孔祥慧==<br /> In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre. I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.<br /> ==Kong Yanan 孔亚楠==<br /> The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure. The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.<br /> <br /> 在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:36, 4 December 2020 (UTC)<br /> <br /> 20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:50, 5 December 2020 (UTC)<br /> <br /> 在20世纪40年代，女作家张爱玲在上海城市文化领域中的自我定位体现在她对该类题材的运用上。 我将分析张爱玲的这段时期的散文写作，以展示该流派如何成为一个重要的话语场所，在那儿女作家公开挑战文学习俗，在文学写作和日常生活实践中寻找替代品，并将自己提升为重要的文化人物。 这部文学作品的独特之处在于，它展现了战时职业背景下的女性文学作品，同时与20世纪40年代的上海商业和印刷文化交流互动。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 08:50, 5 December 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> '''Essay and the aesthetics of liminality'''<br /> <br /> How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay? While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:<br /> ==Lei Kuangxi 雷旷溪==<br /> Alone I sit next to a candle, thinking about the past and the present. What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.<br /> <br /> I was alone on the dusky balcony after Su Qing left. Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness. At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a full moon, rising crimson above the city. I thought to myself, “so this is what they mean by turbulent times.” In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.<br /> ==Li Haiquan 李海泉==<br /> I pondered the fate of many people, including myself. I began to have a melancholy sense of what we call destiny. Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad. When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[ See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]<br /> <br /> This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself. Here, history is visualized, flattened, and inevitably spatialized. The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play. <br /> ==Li Lili 李丽丽==<br /> History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning. Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:<br /> <br /> In this era, the old things are falling apart, while the new ones are still in formation. Before the high tide of the era arrives, all certainty is but an illusion. We feel that everything in our everyday life is out of order to a terrifying degree. An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted. In order to prove our own existence, we want to grasp onto something that is real, something fundamental. We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.<br /> <br /> 张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子：<br /> 在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:21, 4 December 2020 (UTC)Li Lili<br /> <br /> ==Li Lingyue 李凌月==<br /> Looking back helps us regain more clarity and closeness than we might gazing far into the future. We then have a strange feeling about the reality that surrounds us. We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time. Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[ See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944. This translation is based on an earlier version by David Wang. See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]<br /> <br /> 回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:15, 3 December 2020 (UTC)<br /> <br /> 回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:02, 3 December 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings. The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space. Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events. The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:<br /> <br /> ==Li Luyi 李璐伊==<br /> An individual can afford to wait, but an era is transient (''cangcu''). Things are being torn apart, and an even larger destruction is on its way. Someday our civilization, no matter how glorious, will become the past. I often use the word “desolation” (''huangliang'' 荒涼) because there is a premonition of impending danger underlying my thought. <br /> At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself?<br /> Make yourself famous as early as possible! If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!<br /> <br /> 一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:32, 3 December 2020 (UTC)<br /> <br /> 一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 4 December 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> These short, choppy sentences deliver a sense of urgency. To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai. It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape. The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away. Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history.<br /> 这些简短、不连贯的句子给人一种紧迫感。选择通过写作来定位自己，与张爱玲对20世纪40年代上海特殊历史境遇的认识有关。这给人的感觉是，这个时代只是人类历史的一个过渡时刻，结束迫在眉睫，新的历史景观即将形成。因为迫切需要在瞬息万变的情况下“占据”一个空间并抓住某个转瞬即逝的时刻，所以必须成名。张爱玲的作品强调了一个非常私人的时刻，在这个时刻，任何个人的声音都可能被现代战争的猛烈冲击所粉碎，并最终被历史的废墟所吞没。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 05:59, 5 December 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history. The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.<br /> <br /> Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call ''the aesthetics of liminality''. One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu. The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry. The essence of essay writing lies exactly in its lack of essence or its eccentricity. The modern essay is a genre that is itself transitional.<br /> <br /> ==Li Yu 李玉==<br /> The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions. For instance, Chang’s essay entitled “Shuangsheng” (Duet) represents one of the most intrepid literary experiments undertaken during the period. The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing. In “Duet,” literary writing takes the form of a mini roundtable talk. At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language. The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:<br /> <br /> ==Lin Min 林敏==<br /> Having seated ourselves, we started chatting about a variety of things in great detail. When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”<br /> <br /> Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality. The fragmentary and all-inclusive qualities (''san'') of modern prose style (''sanwen'') had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.<br /> <br /> ==Lin Xin 林鑫==<br /> For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, ''Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s''. The roundtable talk became an instrumental cultural genre in 1940s Shanghai. It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display. Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.<br /> <br /> The structure of this essay also bears resemblance to that of a one-act play. The beginning passages can be viewed as stage descriptions. The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> “Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay. The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward. At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal. Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments. The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.<br /> <br /> ==Liu Bo 刘博==<br /> While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers) demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing. The title of the essay takes on double meanings: while ‘''siyu''’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life. The narrative voice in the essay whispers, murmurs, and gossips. Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes. The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present. <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> The essay entitled “Tongyan wuji” (A Childish Discourse) presents another example of writing autobiography within the space of the modern essay. Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making. The following episode even makes a direct reference to cinema:<br /> <br /> I stood in front of the mirror and watched my trembling face, with tears falling down in streams. My face looked like a close-up in a movie. I told myself, grinding my teeth: “I want revenge. One day I will take my revenge.”<br /> <br /> Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them. The entire essay is put together by a series of long takes. Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments. Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure. The following passage from the same essay is a good example:<br /> <br /> ==Liu Liu 刘柳==<br /> Japanese printed fabrics. Each bolt is a work of art. Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image. A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics. A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white. Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……<br /> <br /> Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.<br /> <br /> 日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......<br /> <br /> 解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:56, 3 December 2020 (UTC)<br /> <br /> 日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……<br /> <br /> 阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:10, 4 December 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> '''Essay and the making of a new prose language'''<br /> <br /> Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language. In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella ''Lianhuantao'' (Linked Rings):<br /> <br /> I adopted the language from traditional fiction on many occasions when writing the novella ''Chain of Rings''. In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] ''Plum in a Golden Vase'' (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago. Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (''shuangchong juli''). ……<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language. By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language. For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as ''Plum in a Golden Vase'' and ''Dream of the Red Chamber''. <br /> <br /> ==Liu Yi 刘艺==<br /> What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period? The titles of both the essay collection ''Written on Water'' and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre. While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure. Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.<br /> <br /> In the opening passage of the essay “Tan nüren” (Talking about Women), collected in ''Written on Water'', in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:<br /> <br /> 那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集''写在水面上''和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:36, 3 December 2020 (UTC)<br /> <br /> 那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。<br /> <br /> 张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &quot;女人 &quot;的描述。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:06, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> Westerners refer to sinister and cruel (''yinxian kebo'') women as ‘cats.’ I ran across a pamphlet recently, written in English, entitled ''Cats'', which does nothing else except condemn women. It is not that what is said in it has never been expressed by other people. Interesting remarks (''juanyu'') concerning women are scattered everywhere and it is just not easy to collect them all together. But here this pamphlet is really a compilation (''ji qi dacheng'') [of what has been said about women]. <br /> <br /> Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential. Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged. After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view?<br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:54, 4 December 2020 (UTC)Liu Yiyu<br /> <br /> 西方人把阴险刻薄的女人称为 &quot;猫&quot;。我最近看到一本英文小册子是用英语写的，标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把这些言论收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。<br /> 然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &quot;真实 &quot;作者又在多大程度上内化了这种 &quot;他者 &quot;的男性观？--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:28, 5 December 2020 (UTC)<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> And to what extent is Chang’s translation ‘faithful’ to the original text? The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition. The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay. One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique. Within these quotes, the message is complicated, and presented in several levels. Some of the quotes are reminiscent of an archetypal ‘male’ voice:<br /> <br /> <br /> ==Lou Cancan 娄灿灿==<br /> This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period. David Wang argues that the fictional world presented in the short stories in ''Romances'' points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist. See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in ''Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo'' (Heteroglossia: Chinese Fiction of 1930s and 1980s).<br /> <br /> 这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:11, 4 December 2020 (UTC)<br /> <br /> 这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:01, 4 December 2020 (UTC)<br /> <br /> 虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:59, 4 December 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> “The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete. This is predictable. We just cannot be over-critical of them [women].” <br /> <br /> “If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.” <br /> <br /> “The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”<br /> <br /> The expected readers of the pamphlet ''Cats'' are married middle-class men. According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.” Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.<br /> <br /> “女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。”<br /> “如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。”<br /> “女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！”<br /> 短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:50, 4 December 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image. For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.<br /> <br /> Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences. However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages. Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic. The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’ This ‘look’ is interwoven with a sense of irony. This is even more explicit in some of her other quotes:<br /> <br /> ==Ma Juan 马娟==<br /> “A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar. We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” <br /> “Generally speaking, women do not need the variety of stimulants in their lives that men do. Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.” <br /> <br /> ==Ma Shuya 马淑雅==<br /> These quotes should be understood as mainly Eileen Chang’s own rendition. Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule. If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques. The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.<br /> <br /> ==Ma Zhixing 马智星==<br /> Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form. Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording. A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects? Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language. <br /> <br /> ==Meng Ying 孟莹==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities. <br /> <br /> ==Mo Ling 莫玲==<br /> In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details. In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.” Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.” Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.” See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her ''Woman and Chinese Modernity: The Politics of Reading Between West and East'' (Minnesota and Oxford: University of Minnesota Press, 1991) 85.<br /> <br /> Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.<br /> <br /> 在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 ''女性与中国现代性：中西方的阅读政治性''的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。<br /> <br /> 周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:53, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials. This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details. Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.<br /> <br /> ==Ou Rong 欧蓉==<br /> The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing. According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.” Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.” She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.” Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.” See Stimpson, ”The Somagrams of Gertrude Stein,” in ''The Female Body in Western Culture: Contemporary Perspectives'', edited by Susan Rubin Suleiman.<br /> <br /> 在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:10, 3 December 2020 (UTC)Ou Rong<br /> <br /> 在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:02, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.” Kristeva refers to this as ”a strategy of disintegration.” This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.” See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in ''Signs'' (Autumn, 1981).<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach. Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing. Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities. But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other. It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’ In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,” a language of concealment rather than revelation. The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing. Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.<br /> <br /> 那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 03:40, 3 December 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact. The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda. While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged. It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’ Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.<br /> <br /> <br /> ==Peng Juan 彭娟==<br /> Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication. The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space. By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.<br /> <br /> '''Essay and the Invention of Life in Wartime'''<br /> <br /> In the preface to her 1988 collection entitled '''Xuji''' (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life:<br /> 张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:48, 3 December 2020 (UTC)pengjuan<br /> <br /> 张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。<br /> <br /> '''散文和战时的生活发现'''<br /> <br /> 在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 07:37, 4 December 2020 (UTC)<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people. Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives? <br /> <br /> These sentiments could not have been expressed back in the 1940s. The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers. <br /> <br /> ==Peng Xiaoling 彭小玲==<br /> As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves. And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making. Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.<br /> <br /> 如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:13, 4 December 2020 (UTC)<br /> 如前所述,一个社会对女性知识分子的推动,最重要的力量莫过于女性作家本身。 而在所有文学体裁中,正是现代散文成为女作家自我提升和神话创作中最有力的表现形式。 &quot;散文&quot;为一种没有结构的生活贡献了具体的形式,换句话说,张爱玲、苏青等女性作家用现代散文的形式,构建了一个可以理解、想象和幻想的宇宙。 对日常生活经验的详细描述,即对物质世界文化意义的表述,不仅体现了动态的内心生活,而且表现了一种孕育中的新的社会认同。 在这一章中,我将着重介绍张爱玲散文写作中概念化的生活的两个方面：一方面是作为都市景观中有限场所的现代公寓的空间,另一方面是将时尚作为物质意识的重要形态的论述。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 06:20, 5 December 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> '''Passage from apartment to street'''<br /> <br /> In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life), Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:<br /> <br /> I would ride the wind, returning up there,<br /> but fear those marble domes and jade galleries<br /> the place so high, the cold is unbearable …… <br /> <br /> On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder. Ever since the price of coal soared , radiators in apartments have become purely decorative. The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (''Jiu quan'') down below. It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper. Even if we do not provoke it, the God of thunder still makes its power felt at any moment. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs. Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai. At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound. That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud. But I dare not complain anymore; the unemployed can easily fly into a rage.<br /> <br /> What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war. War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style. Chang’s depiction of the texture of an apartment life then can be read as a parable of war.<br /> <br /> 无缘无故，只听见不怀好意的&quot;嗡……&quot;拉长了半晌之后接着&quot;訇訇&quot;两声，活像飞机在顶上盘旋了一会，掷了两枚炸弹。在战时香港吓细了胆子的我，初回上海的时候，每每为之魂飞魄散。若是当初它认真工作的时候，艰辛地将热水运到六层楼上来，便是咕噜两声，也还情有可原。现在可是雷声大，雨点小，难得滴下两滴生锈的黄浆……然而也说不得了，失业的人向来是肝火旺的。<br /> <br /> 这是张爱玲散文开头的一段，其中最令人吃惊的是作者将日常经历与战争并举。战争在公寓住户的日常生活中是一个隐喻性的存在，喻指城市生活节奏的飘忽不定。于是我们可以将张爱玲对公寓生活的描写解读成对战争的比喻。<br /> <br /> ==Qi Kai 漆凯==<br /> This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong). Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces. The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime. The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning. Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time. See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan. Published in ''The Miscellany Monthly'' 12. 2 (November, 1943). Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan. In The ''Miscellany Monthly'' 15. 5 (August, 1945).<br /> <br /> Originally published in ''Heaven and Earth Monthly'' 3 (December, 1943).<br /> <br /> These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).<br /> <br /> 第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。<br /> 原刊于《天地月刊》第3期(1943年12月)。<br /> 这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:24, 5 December 2020 (UTC)<br /> <br /> ==Quan Meixin 全美欣==<br /> This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment. In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing. City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public. In Chang’s writing, the space of an apartment is presented as such a transitional site. It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary. But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture. <br /> <br /> ==Sagara Seydou ==<br /> For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai. Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:<br /> <br /> I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears. The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid. <br /> <br /> ==Shi Diwen 石迪文==<br /> Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world. This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm. And yet senses simply become more acute, and thoughts are given fresh new patterns. Here, we are witnessing the formation a new metaphysics of the everyday:<br /> <br /> I like to listen to street sounds. Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves. But it is the sound of a trolley that I must hear in order to fall asleep. On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley. People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place. The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys. Like neatly paralleled currents of sounds, they continuously flow into our subconscious. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> For Eileen Chang, an apartment is truly the center of urban life. Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions. Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime. If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space, the modern apartment is another important site on the mental map of a city under siege. The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created. Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.<br /> <br /> 对于张爱玲来说，公寓才是真正的城市生活中心。就像火车站一样，它作为一个起点，随时准备着把人的感官带到不同的方向。张爱玲的生活美学赋予了一种具体的空间形式，这种空间形式深深扎根于战时日常生活中。如果说沦陷的上海流行期刊的出版象征着一个想象空间的塑造，那么现代公寓则是围困城市心理地图的另一个重要场所。战时的侵略打乱了人们的生活圈，以及一切日常生活，但也创造了新的城市空间和体验。在这里，战争的存在强化了人们对城市的体验，形成了一种特殊的空间形态，即现代公寓。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 09:13, 5 December 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> Many feminist scholars have suggested the importance of studying spatial constructions. They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories. The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience. See, for instance, Jessica Benjamin, ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in ''Feminist Studies/Critical Studies'', edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).<br /> <br /> For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in ''Haishang wentan'' (March, 1994). Also see a photographic history in Tang Zhenchang, ed., ''Jindai Shanghai fanhua lu'' (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)<br /> <br /> In ”Interesting Moments in Apartment Life.”<br /> <br /> Ibid.<br /> <br /> See Nicole Huang, ''Written In the Ruins''.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In Chang’s vision, this spatial experience is also gendered. The image of an apartment dweller is gendered, and often female. “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified. Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning. Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights). <br /> <br /> In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）<br /> <br /> 在张爱玲看来，这种空间体验是有性别偏向的。公寓住户的形象也是有性别偏向的，而且通常指女性。张爱玲写道：“恐怕只有女人能够充分了解公寓生活的特殊优点”，因为公寓里的家务要简单许多。因此，女性可以更好地欣赏生活的鸡毛蒜皮；她甚至还可以欣赏早市新鲜蔬菜亮丽的颜色，享受做饭打扫房间的乐趣。张爱玲把这些日常小事再创造，有力地写在名为《中国的日夜》的散文中（中国：日日夜夜）。<br /> <br /> 引自《传奇》（增订本）（上海：山河图书公司，1946）（注释）--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:20, 5 December 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to. Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market. Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city. Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Life in apartment is then presented with many layers in Chang’s essay writing. In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets. On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:<br /> <br /> Designing shop windows is a fascinating job, since there is motionless drama in each display. ……… [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays. <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats. I did not wear western suits, had no need of a hat, and did not want to buy one. And yet I still looked at them with admiring eyes…… <br /> <br /> This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.” At the present time within the essay, a different layer of images are highlighted. We see various street corners scattered in less prestigious neighborhoods of the metropolis. Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:<br /> <br /> ”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> There are many scenes on the streets that are worth another glance. At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack. The rickshaw man is squatting down on the ground, trying to light up an oil lamp. It is getting dark, and the lamp by the woman’s feet slowly brightens. <br /> <br /> Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre. The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.<br /> <br /> 街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。<br /> <br /> 在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。<br /> <br /> 大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。<br /> <br /> 在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:12, 5 December 2020 (UTC)Mo Ling<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past. Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space. Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life. The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city. The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory. Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.<br /> <br /> 进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。<br /> <br /> 张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:38, 4 December 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> – '''Fashion talk''' – <br /> To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life. Chang’s discussions of fashion demonstrate her fascination with an inner vision. By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.<br /> <br /> In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings. Her writing is known for its meticulous attention to details, particularly clothes. <br /> <br /> ==Tao Ye 陶冶==<br /> <br /> For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters), through the clothes of female servants, a portrait of this old-style family is introduced. Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying. Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.<br /> <br /> It is in Chang’s essay writing that a discourse of fashion is passionately elaborated. Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes), in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.<br /> <br /> In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）<br /> <br /> In Past and Present Bi-weekly 34 (December, 1943). Originally written in English and published in the English language journal XXth Century.（注释）<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:<br /> <br /> Men have more freedom in their life than women do. Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing]. <br /> <br /> Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:<br /> <br /> Clothes seem trivial and not worth mentioning. Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.” But for women, it is much easier to cherish their clothes than their husbands. <br /> <br /> From ”A Chronicle of Changing Clothes.”<br /> <br /> Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities. See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves. The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”<br /> <br /> Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).<br /> <br /> Narrative Fiction.” For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche. This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）<br /> <br /> For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in ''Jindai Zhongguo funüshi yanjiu'' (Studies of Women’s History of Modern China) 4 (August, 1996). Also see her dissertation entitled ''Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949'' (New York University, 1997).（注释）<br /> <br /> ==Wang Yu 王煜==<br /> <br /> But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses. “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!” The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune! The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.<br /> <br /> 这篇文章《换衣纪事》不仅仅只是梳理出隐藏在时尚话语中的性别范畴。张爱玲写道：“我们无法想象过去几代人的世界，如此闲散，如此安静，如此井井有条，在清朝满洲统治的三百年里，竟连这样一个叫女装的东西都没有！副词“竟”，暗含着一种震惊：三百年来女人连时尚未曾有，怎么会有人能忍受这样的不幸！对女装的强调似乎是现代与过时世界的一个里程碑。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:01, 5 December 2020 (UTC)<br /> <br /> 但这篇文章《变化的服装编年史》(A Chronicle of Changing Clothes)所做的，远不止是梳理出嵌入时尚话语中的性别类别。张爱玲写道:“我们真的无法想象过去几代人的世界是如此闲适，如此安静，如此有条理。在清朝满洲统治的三百年里，甚至没有(竟)这样一种叫做女性时尚的东西!副词“惊”的使用暗示着一种惊讶:女性甚至三百年来都没有时尚，谁能忍受这样的不幸!对女性服装的重视似乎是区分现代和古老世界的一个里程碑。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:54, 5 December 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> <br /> From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.<br /> <br /> Chang’s account then turns history into a stage presentation. Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes. Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion. <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> History is turned into a fictional narrative. More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space. Through a personification of clothes, Chang has created an animation effect in her world of changing fashion. Clothes replace human voices; clothes become language itself.<br /> <br /> In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture. By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history. The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.<br /> <br /> In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life. He views fashion as a signifier of modernity and a theatricalization of social transformations. For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban. <br /> <br /> Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes. Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:<br /> <br /> The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.<br /> <br /> 西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质:<br /> 都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:10, 3 December 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded. Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence. <br /> <br /> Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision. But Chang has gone well beyond Simmel. She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm. <br /> <br /> See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）<br /> <br /> 在某种程度上，大都市创造了这些心理条件——每过一次街道，伴随着经济、职业和社会生活的节奏和多样性——它创造了精神生活的感官基础，以及我们组织作为依赖差异的生物所必需的意识程度与节奏较慢、习惯性较强、流畅流畅的节奏感形成鲜明对比的是小城镇和乡村的存在状态。<br /> <br /> 西梅尔的这番话有助于说明张爱玲的美学视野是如何将时尚话语置于中心的。但张爱玲已经超越了西梅尔。她将都市主义、现代性和女性气质融入到她的时尚创作中，作为一种新的文化范式。<br /> <br /> 参见西梅尔，“大都市与精神生活”（1903年），《论个性与社会形式：精选著作》，325。（注释）--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:18, 5 December 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time. More importantly, Chang’s fashion stories can also be read as parables of war. Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege. In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time:<br /> In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking. “What am I going to do? I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese. She had a different wardrobe for every social occasion. From a dance party on a yacht to a formal dinner, she was always sufficiently equipped. But she never imagined that there would be a war.<br /> <br /> 张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:21, 3 December 2020 (UTC)<br /> <br /> 张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意：<br /> 在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:33, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above. When it was time to flee we all went our separate ways. I saw her again when the war was over. She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man. <br /> <br /> 她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。<br /> <br /> Indeed our different responses to the war are reflected in our choice of clothes. Take Suleika for example. A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.<br /> <br /> 事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 13:51, 4 December 2020 (UTC)<br /> <br /> 事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 00:35, 5 December 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Like most girls who had a convent education, she was naive to an embarrassing degree. She chose to major in medicine, which means that she had to learn to dissect human bodies. But did the corpses have clothes on or not? The question bothered her, so she was asking people about it. This had become quite a joke around our school. <br /> <br /> A bomb landed next to our dorm, so the warden had to convince us to flee down the hill. Even in such emergency, Suleika did not forget to pack up her most lavish clothes. Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.<br /> <br /> 她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。<br /> <br /> 一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:23, 4 December 2020 (UTC)<br /> <br /> 像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。<br /> <br /> 一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:56, 4 December 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Suleika then joined the defense force, working as a substitute nurse for the Red Cross. She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity). What a waste, but for her it was all worth it. This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. …… <br /> <br /> Here, Chang’s war stories are interwoven with talks of fashion.<br /> <br /> “Stories from the Ashes,” in ''Heaven and Earth Monthly 5'' (February, 1944).<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.<br /> <br /> The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:<br /> <br /> ……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home. Fish scraps and pale green corn husks litter the ground.<br /> <br /> <br /> 时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。<br /> <br /> 《更衣记》这篇文章的结尾也包含了一个寓言:<br /> <br /> ......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:50, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> A child dashes over on his bike just to show off. He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while. At that split second, everyone on the street watches him with an indefinable admiration. Perhaps in this life that moment of letting go is the very loveliest? <br /> <br /> This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life. It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.<br /> <br /> Translated by Andrew F. Jones.（注释）<br /> <br /> 一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:55, 5 December 2020 (UTC)Xiao Ting<br /> <br /> 一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的? <br /> <br /> 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &quot;放手 &quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:59, 5 December 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.<br /> <br /> 在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:42, 4 December 2020 (UTC)Xiao Xi<br /> <br /> 在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:28, 4 December 2020 (UTC)<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> '''Perspectives on Ideology in the Essay'''<br /> <br /> '''Zhu Ziqing, Frantz Fanon, and the Fierce White Children'''<br /> <br /> ''Daniel A. Fried''<br /> <br /> '''Abstract'''<br /> <br /> All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay. And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.<br /> <br /> “论文中的意识形态观点”<br /> <br /> “朱自清，弗朗茨·法农，和凶猛的白人孩子”<br /> <br /> “丹尼尔A.弗里德”<br /> <br /> “概要”<br /> <br /> 所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文.<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 11:25, 3 December 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models. Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself. While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.<br /> <br /> This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays. <br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''. Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.<br /> <br /> Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories. The same could be said of all genres of the period, but the essay has a special claim on postcolonialism. All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs. <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature. For example, Rey Chow in her 1993 ''Writing Diaspora'' produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism. Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies. <br /> <br /> Rey Chow, ''Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies''. (Bloomington: Indiana University Press, 1993).（注释）<br /> <br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:57, 4 December 2020 (UTC)<br /> <br /> 当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。<br /> Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:15, 5 December 2020 (UTC)Xiao Ting<br /> <br /> ==Xu Jing 许静==<br /> <br /> We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus? One could dive into polemics, but a decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.” We need more nuanced approaches. In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach. The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament. <br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves. The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood. The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized.<br /> 弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:06, 4 December 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived. Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.<br /> <br /> 如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:39, 3 December 2020 (UTC)Xu Pengfei<br /> <br /> 如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:29, 4 December 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical ''Black Skin, White Masks''), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!” Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis. And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience. Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.<br /> <br /> 作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:35, 3 December 2020 (UTC)Yang Chenting<br /> <br /> 作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)<br /> <br /> [[File:Example.jpg]]==Yang Hairong 杨海容==<br /> <br /> “The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's. Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative. Fanon writes a sort of psychoanalytically fueled prose poem. There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head, what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..<br /> <br /> Not necesssarily Fanon's. In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity.&quot; Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16. The wording here suggests a fictional narrator. Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）<br /> <br /> <br /> “黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。<br /> <br /> <br /> 不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 5 December 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:<br /> <br /> “Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.<br /> <br /> “Look, a Negro!” It was true. It amused me.<br /> <br /> “Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.<br /> <br /> “Mama, see the Negro! I'm frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.<br /> <br /> <br /> <br /> 这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：<br /> <br /> “看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。<br /> <br /> “看，一个黑人！”是真的。我很开心。<br /> <br /> “看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。<br /> <br /> “妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:18, 3 December 2020 (UTC)<br /> <br /> 这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:<br /> <br /> “看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。<br /> <br /> “看,一个黑人!”这是真的。这太好笑了。<br /> <br /> “看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。<br /> <br /> “妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:14, 3 December 2020 (UTC)<br /> <br /> 这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音：<br /> “看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。<br /> “看，一个黑人！”这是真的。它逗乐了我。<br /> “看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。<br /> “妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:41, 3 December 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder. Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish. He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative. Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter. <br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology. In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration. Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well. And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”<br /> <br /> 尽管如此，这个白人孩子确实扮演了一个重要的角色，因为他实际上是Fanon自己恼怒的叙述声音的怪诞衬托，这是对种族、发展心理学叙述的重写。特别是雅克·拉康著名的“镜像舞台”理论，显然是其主要灵感来源。尽管法农在本章中从未明确提及拉康或“镜子舞台”，但这样的提及在黑皮肤、白面具中比比皆是——毫无疑问，法农非常了解这个范式。他的叙述结构与拉康的解释平行，甚至可以说《黑人的事实》是对《镜子舞台》的讽刺重写。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:49, 5 December 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions. But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time. The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity. In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.” <br /> <br /> ==Yao Cheng 姚诚==--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> In contrast, Fanon only reaches his version of the mirror stage ''after'' passing through objectification and restoration to subjectivity. His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above. But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:<br /> <br /> The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (''un relief de stature'') that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.<br /> <br /> 相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：<br /> <br /> 事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:17, 4 December 2020 (UTC)<br /> <br /> 相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：<br /> <br /> 实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Fanon's mirror is of course the White. In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that ''perversion'' of his Self that he is allowed to know himself. And, moreover, that inversion is ''fixed'' in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye. No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image. Does Fanon feel a universal, rational soul animating himself? Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity? It does not matter. The mirror is impervious and flat. His image is fixed.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.” For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,” he is created by the White reality.<br /> <br /> That relation is an average of many different species of dominance. But perhaps more than any other, it is the dominance of an adult over a child. Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.” <br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> “Gently, in the tone that one uses with a ''child'', they introduced me to the existence of a certain view that was held by certain people.” “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our ''children''-to the innocent, the ingenuous, the spontaneous. We will turn to you as to the ''childhood'' of the world.” (italics mine) The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté. He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his ''I'', but the mirror always gives him back his infant inverse. He cannot realize himself, he can never leave the mirror stage, he is ''fixed''.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The white child is thus a point of entry into the subsurface struggle of the text. The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[ Fanon, 114.] The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[ Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White. But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape. One might even profitably read this mirroring as a form of mimicry. <br /> <br /> ==Yu Ni 余妮==<br /> <br /> In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized. Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[ Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.] However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[ Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.] Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact ''being assaulted'' by the boy's unwitting mimicry of his weakness.<br /> <br /> The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.” And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms. Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.<br /> <br /> “White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”<br /> <br /> 男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。<br /> 因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。<br /> “白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:05, 4 December 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages. The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers. Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone. On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers. In response, British troops arrested a hundred of those assembled. News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release. At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.<br /> <br /> 1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:50, 3 December 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.<br /> <br /> The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley. After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son. Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun. He admits that he loves to stare at young children, and that he stared therefore at the white child.<br /> <br /> 各行各业的抗议行动在全国范围内一触即发，包括了几个文学的抗议行动，其中就有朱自清的两部作品，其一是创作于6月10日的诗篇《血歌》，表现了火山爆发式的强烈情感，九天后，朱自清又写下另一篇文章《白种人——上帝的骄子》。<br /> 虽然这篇文章从未明确指出“五卅”惨案，但朱自清在上海的一路电车上的亲见亲闻刚好记述和解释了这次事件的情况。朱上电车之后，走进头等座里，和两个白种人并排而坐，他猜想那两人是一对父子。小男孩看上去十一二岁的样子，他惊羡于小男孩的可爱容貌，解释说自己多么想要跟这个男孩亲近，因为这让他想起了自己初中时的一个叫做刘君的玩伴，也是一个害羞的小男孩。他承认自己喜欢凝视小孩子，所以才会对这个白人小孩多看了几眼。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:39, 5 December 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu. The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look! You are worthy of looking at me!” Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged. He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories. Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.” Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.<br /> <br /> 与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:33, 4 December 2020 (UTC)<br /> <br /> 和大多数的孩子不同，白人小孩起初没有注意到朱的目光，当感觉到有人在看他后，他和父亲正要下电车，接着小孩向朱回了恶狠狠的目光。朱从他的怒视中读到：“咄！黄种人，黄种的支那人，你——你看吧！你也配看我！”朱从中感觉遭到了人身攻击，首先是张皇失措，而后他的爱国热枕喷涌而出。他解释说自己盼望的是国籍优先的普遍主义，可是眼看这个孩子小小年纪就已被社会所同化，接受了种族主义，他便开始怀疑普遍主义是否还有实现的可能。然而，他对孩子展现出来的男性力量表示赞赏，“这正说明了白人之所以为白人”。最后，他陷入了民族主义和普遍主义的矛盾之中，直到结尾，文章也未给出解决的方案。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:50, 5 December 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of ''personal'' identity. This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity. Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other. And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.” But the incident does not fit the mirror-stage model as transmitted by Fanon.<br /> <br /> 鉴于法农对西方后殖民的祈祷，某人从西方角度来看可能希望朱自清对带有个人身份危机的小孩的凝视作出回应。毕竟，这是法农在“黑暗事实”中的奥德赛追求：为自己谈判或夺取有价值的自我空间，反对法国白人的贬低之声，试图使他陷入一个不同于自己、不同于人性可能性的不同物中。朱自清的反应确实很适合自己-他人的修辞：他对白人小孩的经历很像白人与其他人的经历。这一事件深深地伤害了我：“这次突然袭击使我感到恐慌；我的心是空虚的，四面都是沉重的压力，使我无法自由地呼吸。”但该事件不符合法农传递的镜像阶段模型。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 5 December 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself.<br /> Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response. After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!” He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:<br /> <br /> That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”! I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face. This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[ Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]<br /> <br /> Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his ''theoretical'' realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut. The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history. And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.<br /> <br /> 但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。<br /> 正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:36, 3 December 2020 (UTC)<br /> <br /> 但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】<br /> <br /> 尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:42, 4 December 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing. Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity. Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task. Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities. Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity. There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.” <br /> <br /> ==Zhang Hui 张慧==<br /> On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.<br /> <br /> Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature. But the standard history does happen to match the particulars of these two authors' educational trajectories. The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride. <br /> <br /> And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.<br /> <br /> 相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。<br /> <br /> 在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。 <br /> <br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 3 December 2020 (UTC)<br /> <br /> <br /> 相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。<br /> 到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。<br /> 然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:19, 3 December 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Normally, Zhu Ziqing is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text. Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?<br /> <br /> If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma. The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare. The key to this portal is that that stare, as it happened empirically, was complete unto itself.<br /> <br /> 朱自清可以算得上最后一位与激烈的民族主义联系在一起的作家，相反，他通常只专注于法侬文本中所特有的那种心理反省。从个人经历到民族主义反思的迅速转变是否部分原因是由于“五卅惨案”的影响?<br /> <br /> 如果你有意忘记掉这篇文章“五卅惨案”的背景，而把重点放在朱叙述事件的细节上，那么这篇文章就开启了另一个层面的解读，一个充满法农式的心理创伤的解读。这篇文章最广阔的内部入口也是它明显的症结所在：即白人儿童的凝视。这个入口的关键是那种凝视，好像它是凭经验发生的，是完全独立的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 07:42, 5 December 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> It was an act, an aggressive act, unaccompanied by words. When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes. But yet the language admits its paternity: not the child, but Zhu himself. Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears. Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say. No doubt, the child was acting racistly. But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated. He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better. For Zhu's stare was not the first the boy had received. Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority. The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming. This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Moreover, it is Zhu who initiated this discomforting dialogue of stares. Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic. As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of ''identity ''and alienates it from essence,”[ Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries. Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.<br /> <br /> And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[ Zhu, 43.]<br /> <br /> <br /> 此外，正是朱自清发起了这场令人不安的凝视的对话。朱自清的儿子和法侬的儿子一样，是个模仿者，尽管他的模仿也有问题。正如霍米·巴巴所说，“监视的目光作为被训练者取代的凝视回归，观察者成为被观察的对象，‘部分表征重新表达了“身份”的整个概念，并将其与本质分离，’”[霍米·巴巴, 89。]但在这种情况下，模仿的目光是殖民者的目光，而这种目光的回归正是建立了种族界限。当然，朱自清认为这种模仿是殖民侵略的一个例子;只有这个男孩可能会想到，用霍米·巴巴的话说，这种盯着他看的眼神是他抵御种族主义侵犯隐私的防御机制。<br /> <br /> 朱自清最初的凝视显然带有种族主义色彩(虽然不是种族主义);他沾沾自喜地欣赏着这个男孩的高加索气质:“他那雪白的脸颊上满是红晕，长长的金色睫毛流露出一种平和优雅的气质。”--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 09:10, 5 December 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun. Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression. Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy. Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.<br /> <br /> Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes. It is not therefore simple. Consider the bizarreness hidden in his self-justification:<br /> <br /> 当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:14, 4 December 2020 (UTC)<br /> <br /> 当然，朱自清试图掩盖这一事实，这是刘军（Liu Jun）谈及过的主要的修辞功能。没有那种短小叙事，朱自清将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱自清的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱自清宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。<br /> <br /> 很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱自清的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 08:16, 5 December 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy. Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him! I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!<br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:22, 3 December 2020 (UTC)<br /> <br /> <br /> 我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:06, 3 December 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women. I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice. Therefore I was very bold. This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![ Zhu, 43.]<br /> <br /> ''Sexuality! ''is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.” And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world. Zhu's relationship with children is therefore predicated by his dominance of them. He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[ The evidence for Zhu's child-fetish is strongly corroborated by his other work. Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse. ]<br /> <br /> Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated. Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved.<br /> <br /> 小刘死了，但是现在有其他人围着朱自清打转；他不能像抚摸小刘那样摸其他孩子，这在社会上是不可能的，但作为补偿，他可以免受惩罚地盯着他们几十次。 孩子们对他的凝视并不反感，他们是温顺的——顶多就是在朱先生对他们世界的视觉侵扰下不舒服地扭动下。 因此，朱自清与孩子的关系由他对孩子的支配地位决定。 他在这一段的开头说，他想和孩子们亲密，但这种亲密是权力强迫所致。（朱自清的恋童癖在他的其他作品中得到了有力的证实。 除了在著名的《背影》等作品中对童年的关注外，在他的另一篇散文《孩子们》中，甚至明确承认对儿童有进行身体上的虐待。）<br /> <br /> 鉴于这些奇怪的承认，人们认为朱自清凝视白人孩子时的反应要复杂得多。 朱先生将这种凝视视为种族主义，这或许正确的；然而，他显然也对所涉及的权力倒置感到震惊。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 08:13, 5 December 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child. When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring. Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.<br /> <br /> Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which life in France causes him.<br /> <br /> 他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:16, 3 December 2020 (UTC)<br /> <br /> 他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:43, 3 December 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley. Zhu's white boy is visually even more of a mirror image to him than Fanon's was. The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination. Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan. He cannot wander between psychological theory and personal experience in the same fashion Fanon did.<br /> 如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology. This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions.<br /> 但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)<br /> <br /> 但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)<br /> <br /> 不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:53, 3 December 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun. And Zhu's fascination with children and childhood in other essays should be an indication that something is up. Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power. It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.<br /> <br /> What makes Zhu feel nationalistic pride? It is not the boy's reaction, but his race.<br /> <br /> 但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。<br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:43, 3 December 2020 (UTC)<br /> <br /> 但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。<br /> <br /> 是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:19, 4 December 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so. Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting. The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident. To Zhu's mind, it was not the child's whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination. He essentializes the incident: force is what makes whites white. A gaze on a bus becomes an allegory for the sweep of modern history.<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre. Is it really a defense mechanism against the revelations of his own psychology? Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai? Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925? I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road. But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (''Xiaoshuo yuebao and Wenxue zhoukan''), none but his strays so far from the event of the massacre itself in order to support the national cause. It is legitimate to ask why.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion. Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production. They are invisible to us, as informed readers, but only on our first readings. The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!” The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.<br /> <br /> 因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:16, 4 December 2020 (UTC)<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon. His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it. It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant. Yet ''Black Skin, White Masks'' is filled with partial autobiographies. One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better. Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience. Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.<br /> <br /> 这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:54, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique. Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions. Tension is healthy. If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.<br /> <br /> The great frustration of the work of comparison is its inability to aspire to totalisms. However conscious we are of the danger of such aspirations, they are magnetic and insinuating.<br /> <br /> 这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。<br /> <br /> 比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 07:00, 3 December 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the most appropriate. The comparison of individual works requires resignation to pettiness. Any other permutation of works will produce different, perhaps contradictory, lessons. For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it. Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably. The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.<br /> <br /> 从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:02, 4 December 2020 (UTC)<br /> <br /> 从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:22, 4 December 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture<br /> '''<br /> Charles A. Laughlin<br /> <br /> '''Abstract'''<br /> <br /> The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature. <br /> <br /> Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party. Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue. Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period. Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures. <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay: Liu Baiyu, Qin Mu and Yang Shuo. Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment. Socialist ''sanwen'' differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes. But traces of the conspicuous individuality of Republican period ''sanwen'' lived on in the essayists of the 1950s and 60s. This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose. Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda. Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd. The problem is, as I was aware at the time, there are prominent authors in the PRC – Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen). <br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> At that time, I dismissed this phenomenon in the usual way: these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.<br /> <br /> But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the ''xiaopin wen'' popular the 1930s, while there was already in ''baogao wenxue'' a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society. To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of ''sanwen'' as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the ''sanwen'' form in the PRC to something inherent about ''sanwen'' and Chinese literary modernity. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the ''sanwen'' under Chinese socialism.<br /> <br /> '''Socialist ''sanwen'' emerged from Communist base area writing practice''' <br /> <br /> Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party. Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders. Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[ The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]<br /> <br /> <br /> 我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。<br /> <br /> '''社会主义散文是从共产主义根据地写作实践中产生的'''<br /> <br /> 延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。</div>

Wu Kai https://bou.de/u/index.php?title=History_of_Translation_Studies&diff=106923 2020-12-02T04:51:55Z

<p>Wu Kai: /* On translation of official documents of CangNan County 吴恺 Wu Kai */</p> <hr /> <div>这里是《翻译学史》的书稿。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> =Acknowledgement=<br /> I am indebted to the more than 300 students of the Master Course &quot;Introduction to Translation Studies&quot; conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously.<br /> The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.<br /> =Foreword=<br /> Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.<br /> <br /> The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.<br /> <br /> In the 1960s, the translation studies started to become aware of itself as an academic discipline.<br /> =Introduction=<br /> <br /> =The Emergence of Translation and Interpretation=<br /> <br /> =Western Translation Theories=<br /> =='''Impacts of Western Translation Theories on The Translator’s Guide to Chinglish'''==<br /> <br /> '''Abstract:''' In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, during which there exist various characters, theories, schools of translation, exerting great influences on translators an translating activities at present. The book ''The Translator’s Guide to Chinglish'' has discussed the “Chinglish” by English learners and translators in China. The author’s outlooks on translation also have shown the ideologies of western translation theories.<br /> <br /> '''Keywords:''' Western translation theories; Translation history; Translator’s Guide to Chinglish; <br /> <br /> '''摘要：'''据记载，西方翻译理论与实践的历史已达两千余年，这其中不乏各大翻译家、翻译理论和翻译流派等，他们都对如今的翻译工作者和翻译活动产生了深远的影响。《中式英语之鉴》这本书讨论了中国英语学习者和翻译工作者的“中式英语”问题。作者在此书中的观点体现着西方的翻译理论思想。<br /> <br /> '''关键词：'''西方翻译理论；翻译史；《中式英语之鉴》<br /> <br /> '''I. Introduction'''<br /> <br /> Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials. <br /> <br /> The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated ''Septuagint'' into Greek to the 16th century when the translation of the Bible prevailed, it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu &amp; Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force. <br /> <br /> In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc. These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book ''The Brief History of Western Translation'', “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories. <br /> <br /> Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school. The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.<br /> <br /> '''II. School Classification''' <br /> <br /> Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel. In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.<br /> <br /> As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories. To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation. If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective. <br /> <br /> From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original. As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth. <br /> <br /> Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating ''the Bible'' and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God. In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of ''the Bible'' depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text. From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation. In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”; we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; Paul Valery emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.<br /> <br /> Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century. People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess. The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language. <br /> <br /> From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.<br /> <br /> However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.<br /> <br /> '''III. About ''The Translator’s Guide to Chinglish'''''<br /> <br /> Joan Pinkham, a professional translator from the U.S., published the book ''The Translator’s Guide to Chinglish'' in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book. ''The Translator’s Guide to Chinglish'' consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make. <br /> <br /> First of all let’s take a look at examples given in the fist chapter:<br /> <br /> promoting the cause of peaceful reunification;<br /> <br /> reforms in the sphere of economy;<br /> <br /> to ensure a relationship of close cooperation between.<br /> <br /> Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34) in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow. Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16) It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:<br /> <br /> to bring about a change in this state of affairs;<br /> <br /> until China realizes its modernization;<br /> <br /> trying to entice the Korean army to launch an attack against them.<br /> <br /> “Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.” <br /> <br /> In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs. <br /> <br /> In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing. After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”<br /> <br /> The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.” The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents. This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence. <br /> <br /> '''IV. Discussion'''<br /> <br /> From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, ''On Linguistic Aspects of Translation'' by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating. He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target. From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles. In 1971 in the book ''Translation and Limitations in Translation Criticism'', Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority. Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.” Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original. <br /> <br /> Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation. For example:<br /> <br /> the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;<br /> <br /> The author revises it into:<br /> <br /> the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.<br /> <br /> In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.” As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)<br /> <br /> Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization. Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language. <br /> <br /> <br /> The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating. Here’s an another example: <br /> <br /> we should draw up correct development and construction plans for all these zones;<br /> <br /> The author revises it into:<br /> <br /> we should draw up correct plans for the development of all these zones.<br /> <br /> The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)<br /> <br /> '''V. Conclusion'''<br /> <br /> In summary, ''A Brief History of Western Translation Theories'' by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation. The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language. In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth. <br /> <br /> ''The Translator’s Guide to Chinglish'' by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences. I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history. More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.<br /> <br /> '''References:'''<br /> <br /> [1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25<br /> <br /> [2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05<br /> <br /> [3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30<br /> <br /> [4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05<br /> <br /> 主要参考书目:《西方翻译简史》、《中式英语之鉴》<br /> <br /> =Derrida and Benjamin=<br /> =='''Comparison of Derrida’s and Benjamin’s Translation View'''==<br /> <br /> '''Abstract：'''In western traditional translation view, conveying the meaning is the first aim. However, in Benjamin’s eye, this is an agreement of language non-identity, which does no good to the development of linguistic development. Benjamin has used the non-identity of language to overturn the ideas that view language as a tool. In this way, he has been regarded by many scholars as the forerunner who rebelled against the western logocentrism. He also did quite a lot contribution to the development of translation and his idea of pure language can be called the most well-known feature of him. While another dominate figure of deconstructivism is Derrida who has put logocentrism under great challenge. He’s no doubt one of the representatives of deconstructivism and he has created many concepts like différance, dissemination, trance etc., which serves not only in linguistics, philosophy but also in translation.<br /> In the history of western translation, Benjamin has always been classified as a member of deconstructivism. However, compared with another leading figure of deconstructivism, he has totally different understanding on translation. This essay is trying to undergo the comparison study between the two predominant figure’s comprehension on translation mainly through the aspects of pure language and difference, metaphrase and relevant translation, later life and rebirth of original texts. In the conclusion, we have concluded the comparison between the two figures’ attitudes towards five dimensions, respectively, original work, author, translator, translation work and translation criterion. At last we can find that in fact, Benjamin does not belong to deconstructivism.<br /> <br /> '''Key words:''' Benjamin, Derrida, deconstructivism<br /> <br /> '''摘要：'''在西方传统翻译观中，传递意义是首要目的。但是，在本雅明的眼中，这是对语言不一致性的认同。因此，这种传统的翻译观对于语言的发展并无益处。本雅明运用了语言的不一致性，并以此一举推翻了传统的观念，人们认为语言知识一种工具。通过这种方式，本雅明被视为众多学者中反抗西方逻各斯主义的先驱。他对翻译的发展做出了卓越的贡献，并且他纯语言的概念深入人心，成为他身上最闪亮的思想之一，也是他被众人所知的特点之一。然而另一位解构主义的大人物，德里达亦是以一己之力推翻西方的逻各斯中心主义。毫无疑问，他是解构主义的代表人物之一并且他也创造了“延异”，“播撒”，“痕迹”等概念。这些概念不仅仅推动了语言学、哲学的发展，也推动了翻译学的发展。<br /> 在西方翻译历史中，本雅明总是被划为解构主义者。但其实与另一位解构主义的大人物相比，他对于翻译有着自己完全不同的理解。 本文打算进行这两位巨人的翻译理论对比，主要通过以下方面：纯语言与差异性，直译与“relevant”翻译，后世生命与重生。在最后的总结部分，笔者从五个角度总结了两位巨人的不同态度，对于原作的态度，对于作者的态度，对于译作的态度，对于译者的态度和对于翻译标准的态度。最终，我们能够发现严格意义上来说，本雅明完全不属于解构主义学派。<br /> <br /> '''关键字：'''德里达，本雅明，解构主义<br /> <br /> '''1.Pure Language and Difference'''<br /> <br /> In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation. Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. '''(Cao Danhong 6)''' In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.'''(Wei Jiangang &amp; Sun Yingchun 75)''' In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” '''(Wohlfarth 27)'''. As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language. And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. '''(Paul De Man, 99)'''<br /> <br /> Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical. However, this reference cannot be achieved through one single language, but through the complement of various languages” '''(Benjamin 61)''' That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation. Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.<br /> <br /> What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce&quot;, which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. '''(Davis 10)''' In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning. Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. '''(Cai Xinle 200)''' What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition. If there is a starting point, the meaning will flow no more as it can be fixed in the very beginning. If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. '''(Zhu Gang 20)'''<br /> <br /> Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship. If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is. Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything. There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.<br /> <br /> '''2. Metaphrase and Relevant Translation<br /> '''<br /> <br /> As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. '''(Benjamin, 67)''' In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language. Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. '''(Paul De Man 104)''' To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation. Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit. <br /> <br /> Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos… Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. '''(Wang Yingchong 15)''' However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible. With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?<br /> <br /> Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. '''(Derrida 429)'''<br /> <br /> Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. '''(Wang Yingchong 17).''' Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary. <br /> <br /> In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.<br /> <br /> '''3. Afterlife and Rebirth<br /> '''<br /> <br /> Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence. The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival. Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. '''(Benjamin 76)<br /> '''<br /> Benjamin has regarded the original work as vigorous organism so that translation is views as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly. With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. '''(Kramer 24)''' However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language. <br /> <br /> The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. '''(Benjamin,60)'''<br /> Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.<br /> <br /> Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. '''(Derrida 2003)''' Starting from such complementary relationship, Derrida abolished the original position of the original work as original work has no difference from translation work in that original work is the translation work of former texts, and translation work can be translated as original work for later texts. La differánce of meaning is infinite that all the texts are the limited comprehension of semantic differánce, which supplement and substitute each other, constructing a constantly flowing semantic chain. A text that depends on other texts but differs from other texts at the same time constantly waits for supplement and substitution in the semantic net. Text is a claiming process that goes beyond meaning in itself; it’s the trace of a sequence of movements. The ultimate text that can cover the infinite semantic differánce doesn’t exist and the ultimate meaning is intangible as meaning is mobile and infinite.<br /> <br /> All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary. There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.<br /> <br /> '''4.Conclusion<br /> '''<br /> <br /> In a word, through the comparative study of Benjamin’s translation view and Derrida’s translation view, we can find something in common but the two still distinct with each other and own their unique perspective and ideas.<br /> <br /> Firstly, on the aspect of original work, translation theories of deconstructivism emphasizing infinite differánce of meaning and relativity and fluidity of text deny the originality of original works with intertextuality. Lots of texts appear, one differing from the former a little bit; all of them are the translation of translation. Each text has its unique features, and at the same time, it’s the translation of another text, thus, no text is the absolute original work plus language itself is a kind of translation. In the first place, it’s the translation of non-linguistic world and in the second place, every sign and phrase are the translation of another sign and phrase. '''(Bssnett 112)''' Nonetheless, Benjamin insists on the originality of original work, emphasizing that linguistic core is contained only in the original work and the function of translation is to liberate the relationship between the signifier and signified. Hence, if Benjamin denies the originality of original work will make the ground of his translation view lost.<br /> <br /> Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author'''(Jiang Xiaohua &amp; Zhang Jinghua 42)'''. However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.<br /> <br /> Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.<br /> <br /> Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work. Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.<br /> <br /> Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language. The most obvious distinction between the two is that the former has no intention to provide a solution or a conclusion after dissolving the criterion of translation, which is a little bit puzzling while the latter has set the transcendental body of pure language to declare the existence of absolute translatability, with intensified mode to present what is not in presence and to bring things far away nearer to us as distant things. '''(Derrida 79)<br /> '''<br /> <br /> To sum up, Benjamin cannot be classified as a member of translation school of deconstructivism no matter from the perspective of ideas and the structure of his theories. Although Benjamin has many points of view that are similar with ideas of deconstructivism, but his theory system completely different.<br /> <br /> '''Bibliography'''<br /> <br /> [1]Basnett, Susan &amp; Lefevere, Andre (eds.). Translation, History and Culture. London and New York: Pinter Publishers, 1990.<br /> <br /> [2]Benjamin, Walter. The Task of the Translator: An Introduction to the Translation of Baudelaire's Tableaux Parisiens. Harry Zohn (trans.). Lawrence, Venuti (ed.). The Translation Studies Reader (Second Edition). New York: Routledge, 2004: 75-85.<br /> <br /> [3]Davis, Kathleen, Deconstruction and Translation. Shanghai: Shanghai Foreign Language Education Press,2004.<br /> <br /> [4]Derrida, J. What is A “Relevant” Translation? Lawrence, Venuti (trans. &amp; ed.). The Translation Studies Reader (Second Edition). New York: Routledge,2004:423- 446.<br /> <br /> [5]本雅明. 写作与救赎:本雅明文选.李茂增、苏仲乐译.上海:东方出版社, 2009: 61<br /> <br /> [6]蔡新乐. 相关的相关——德里达“相关的”翻译及其他.北京:中国社会科学出版社, 2007.<br /> <br /> [7]曹丹红. “本雅明《译者的任务》再解读”，中国翻译：2012（5）：5-9<br /> <br /> [8]德曼.“结论”:瓦尔特.本雅明的“翻译者的任务&quot;. 郭军译.郭军、曹雷雨编.2003:83-112.<br /> <br /> [9]蒋骁华、张景华. “重新解读韦努蒂的异化翻译理论兼与郭建中教授商榷”.中国翻译, 2007 (3): 39-44.<br /> <br /> [10]克拉默.本雅明. 鲁路译. 北京:中国人民大学出版社，2008.<br /> <br /> [11]王颖冲. “再论德里达的 “relevant&quot; translation”. 中国翻译，2011 (5): 11-19.<br /> <br /> [12]魏建刚、孙迎春. “本体论抑或方法论——本雅明《译者的任务》再探”.外语与外语教学，2013(2): 72-76.<br /> <br /> [13]沃尔法思. 一个马克思主义者的“创世纪&quot; . 郭军译. 郭军、曹雷雨编.2003:27-42.<br /> <br /> [14]朱刚. 本原与延异:德里达对本原形而上学的解构.上海:上海人民出版社，2006.<br /> <br /> =Translation Aesthetics=<br /> =='''Study on Gladys’ Translation of ''The Border Town'' from the Perspective of Translation Aesthetics'''==<br /> <br /> '''Abstract:''' As a famous novel, ''The Border Town'' written by Shen Congwen maninly introduces young people’s pursuit of love in Xiangxi as well as the simple folk customs, so the novel has great aesthetic value. It is necessarily of high significance to analyze English versions of ''The Border Town'', which is full of aesthetic features, from the angle of Translation Aesthetics. The paper tries to analyze Gladys Yang’s English translation of the novel from five aspects under Translation Aesthetics: beauty in sound, beauty in lexis, beauty in form, beauty in image and beauty in ideorealm in order to test and measure the practicality and operability of Translation Aesthetics in literary translation.<br /> <br /> '''Key words:''' Translation Aesthetics; ''The Border Town''; Liu Miqing; Lin Yutang <br /> <br /> '''翻译美学视角下《边城》戴乃迭英译本之探究'''<br /> <br /> 作 者：向晓蔚<br /> <br /> （湖南师范大学外国语学院，长沙 410081）<br /> <br /> '''摘 要：'''作为一部名作，沈从文的《边城》以清丽的笔触描绘了湘西地区的青年人对美好爱情的追求以及纯厚朴实的民风，蕴含浓郁的审美价值。对于《边城》这样一部美学价值极高的作品，从翻译美学的角度进行探讨将具有重要意义。因此，本文从翻译美学角度入手，从音韵美、用词美、形式美、意象美和意境美五个方面对小说《边城》戴乃迭的英译本进行分析，旨在验证翻译美学理论在文学翻译中的实践性和可操作性。<br /> <br /> '''关键词：'''翻译美学；《边城》；刘宓庆；林语堂<br /> <br /> Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics.<br /> <br /> <br /> '''1 About Translation Aesthetics''' <br /> <br /> Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.<br /> <br /> '''1.1 Development of Translation Aesthetics in China'''<br /> <br /> The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories. Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin. The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.<br /> <br /> '''1.2 Lin Yutang’s theory of Translation Aesthetics'''<br /> <br /> In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of ''On Translation''. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.<br /> <br /> So in the article of ''On Translation'' written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.<br /> <br /> '''1.3 Liu Miqing’s theory of Translation Aesthetics'''<br /> <br /> In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book ''An Introduction to Translation Aesthetics''. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2] Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.<br /> <br /> “Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, ''The Book of Songs'' on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book. These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs. It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST. If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.<br /> <br /> According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.<br /> <br /> The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.<br /> <br /> In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity.<br /> <br /> Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.<br /> <br /> '''2 A case study of The Border Town from the perspective of Translation Aesthetics'''<br /> <br /> ''The Border Town'' is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.<br /> <br /> Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of ''The Border Town'' from the perspective of Translation Aesthetics.<br /> <br /> '''2.1 Beauty in sound'''<br /> <br /> Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.<br /> <br /> '''2.1.1 Rhyme'''<br /> <br /> Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5]. To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.<br /> <br /> Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]<br /> <br /> Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]<br /> <br /> This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text. When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.<br /> <br /> '''2.1.2 Onomatopoeia'''<br /> <br /> Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.<br /> <br /> The onomatopoeias in ''The Border Town'' demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated. However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.<br /> <br /> Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]<br /> <br /> Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9]<br /> <br /> Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]<br /> <br /> Translation: To show his agreement, Brownie sets up a furious barking.[11]<br /> <br /> In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.<br /> <br /> '''2.2 Beauty in lexis'''<br /> <br /> Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads. As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.<br /> <br /> Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]<br /> <br /> Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]<br /> <br /> Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui. Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.<br /> <br /> '''2.3 Beauty in form'''<br /> <br /> Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules. Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.<br /> <br /> Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s ''The Border Town''.<br /> <br /> '''2.3.1 Parallelism'''<br /> <br /> Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device. The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in ''The'' ''Border Town''. Look at the example:<br /> <br /> Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]<br /> <br /> Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]<br /> <br /> In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people. In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.<br /> <br /> '''2.3.2 Antithesis'''<br /> <br /> Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other. Look at the example below.<br /> <br /> Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]<br /> <br /> Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]<br /> <br /> In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.<br /> <br /> '''2.3.3 Repetition'''<br /> <br /> From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device. Here is an example:<br /> <br /> Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]<br /> <br /> Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]<br /> <br /> This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...” Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.<br /> <br /> '''2.4 Beauty in image'''<br /> <br /> Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.<br /> <br /> Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]<br /> <br /> Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]<br /> <br /> This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again. The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream. The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”. With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version. It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.<br /> <br /> '''2.5 Beauty in ideorealm'''<br /> <br /> Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings. It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.<br /> <br /> Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]<br /> <br /> Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]<br /> <br /> This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature. Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view. Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest. Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”. More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.<br /> <br /> Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]<br /> <br /> Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]<br /> <br /> In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival. Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again. The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.<br /> <br /> '''3 Conclusion'''<br /> <br /> After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works. On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.<br /> <br /> =Culture Loaded Words=<br /> =='''The Translation of Culture-loaded Words in Chinese-English Communication'''==<br /> '''文化负载词在中英交流中的翻译'''<br /> <br /> '''摘要：'''随着经济全球化的深入发展，各国之间的文化交流日趋频繁。文化信息的成功传递是跨文化交流中的重要一环。文化负载词的翻译一直是译者面临的一大难题。准确传译文化负载词关系到译文质量的提高，跨文化交流活动的顺利进行以及文化的传播。本文将由六个部分组成。第一个部分和第二部分将分别讲述文化负载词的定义以及其翻译的难点。第三部分和第四部分将讲述文化负载词的翻译策略及其不可译性。第五部分和第六部分将分别讲述文化负载词的翻译对口译的影响并对本文进行一个简短的总结。<br /> <br /> '''关键词：'''翻译；文化负载词；文化差异<br /> <br /> '''Abstract:''' With the development of economic globalization, the cultural exchange among different countries becomes more and more frequent. The successful transmission of cultural message is an important link in international exchanges. In translation activities, the translation of culture-loaded words is a great challenge for translators, because the speaker and the audience come from a different linguistic and cultural environment. The accurate translation of culture-loaded words will help improve the quality of translation, enable successful cross-cultural exchanges and promote culture transmission. This paper will be divided into six parts. The first part will tell readers what is culture-loaded words. The second part will concentrate on the difficulties to translate culture-loaded words.The third part will discuss the translation approaches to culture-loaded words. The fourth part will focus on the question of translatability of culture-loaded words. The fifth part will introduce the interpreter’s translation of culture-loaded words. And the last part will briefly draw a conclusion about the paper.<br /> <br /> '''Key words:''' translation; culture-loaded words; cultural differences<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> <br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior. In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa. Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden. In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> <br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures. Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> <br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves. The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237) Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> <br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage. The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. ''The Bible'' illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> <br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo. In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress. Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation. The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world. The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example. “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns. Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> <br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty. For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science. For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> <br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does. Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> <br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture. <br /> <br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew. Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result. If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”. Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea. The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example. According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers. Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English. But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people. When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl. So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl. Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people. In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said. The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers. <br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate. By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94) It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95) This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130) Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture. It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> '''References'''<br /> <br /> [1] Baker, Mona. ''In Other Words: A Coursebook on Translation.'' London: Routledge, 1992<br /> <br /> [2] Chen, Junming. [陈君铭]. 谈汉语文化负载词的不可译性[J]. 淮南师范学院学报, 2013(4):28-31<br /> <br /> [3] Cui, Shan. [崔姗]. 翻译补偿视角下的中国茶名英译研. 福建茶叶, 2019(2):125-126<br /> <br /> [4] Dai, Weidong. [戴炜栋]. 《新编简明英语语言学教程》. 上海: 上海外语教育出版社, 2002<br /> <br /> [5] Eugene A, Nida and Charles R, Taber.''The Theory and Practice of Translation''. Leiden：E.J.Brill,1969<br /> <br /> [6] Guo, Huqing. [郭卉青]. 释意理论视角下文化负载词的英汉口译策略[J]. 陕西能源学院学报, 2018(2):94-96<br /> <br /> [7] Huang, Yongyuan and Zhang, Jing. [黄永媛, and 张晶]. 中西文化起源对比与研究. 东北农业大学学报(社会科学版). 2011(6):107-109<br /> <br /> [8] Lawrence, Venuti .''The Translator’s Invisibility: A History of Translation''. London and New York: Routledge, 1995<br /> <br /> [9] Liao, Qiyi. [廖七一]. 《当代西方翻译理论探索》. 南京: 译林出版社, 2002<br /> <br /> [10] Steiner, George. ''After Babel: Aspects of Language and Translation''. Oxford: Oxford University Press, 1998<br /> <br /> [11] Wang, Xiang. [王祥]. 全球化语境下文化负载词翻译技巧. 开封教育学院学报. 2017(8):75-76<br /> <br /> [12] Xu, Xianling and Li, Xiangzhuang. [徐先, and李相状]. 中国饮食文化. 北京：中国戏剧出版社, 2005<br /> <br /> Zhang, Jiachen. [张佳琛]. 中国“食”文化的异化翻译. 长沙理工大学学报（社会科学版）, 2014(3):140-107<br /> <br /> =Skopos and Functional Equivalence=<br /> =='''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''==<br /> <br /> '''Abstract：'''This paper first makes a brief introduction of the two very important translation theories, which are Functional Equivalence Theory and Skopos theory, put forward by Eugene Nida and Hans Vermeer respectively. Then the paper analyzes the similarities and differences between the two theories from many different perspectives. Through the analysis of the two theories, the author finally puts forwards its own thoughts on the two translation theories.<br /> <br /> '''Key words：'''Functional Equivalence Theory; Skopos theory; Eugene Nida; Hans Vermeer<br /> <br /> '''摘要：'''本文首先对翻译研究中两种极为重要的翻译理论，即尤金·奈达提出的功能对等翻译理论和汉斯·弗米尔进行了简要介绍，之后从多个不同的方面对这两种理论的相似点和不同之处进行分析。最后，在对两种理论进行分析后，作者提出自己对这两种理论的看法和认识。 <br /> <br /> '''关键词：'''功能对等理论；翻译目的论；尤金·奈达；汉斯·弗米尔<br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”. In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”. Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text. And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence. On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”. In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language. Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means. However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response. From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”. All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory. <br /> <br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text. Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers. However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation. And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms. While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes. Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers. <br /> <br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”. This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144). Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> <br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation. It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo--translation and translationese cases. At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language. Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries. Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture. But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious. For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context. Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text. This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards. When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies. People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities. Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> Reference books: 《奈达论翻译》by谭载喜&amp;《西方翻译理论通史》by刘军平<br /> <br /> Bibliography：<br /> <br /> [1] Eugene A. Nida. ''Toward a Science of Translating'' [M]. Leiden: E. J. Brill, 1964.<br /> <br /> [2] Eugene A. Nida, Charles Taber. ''The Theory and Practice of Translation'' [M]. Leiden: the Netherlands, E. J. Brill, 1969.<br /> <br /> [3] Hans Vermeer. ''Framework for a General Translation Theory'' [M] ,1978.<br /> <br /> [4]谭载喜.奈达论翻译 [M].北京：中国对外翻译出版公司,1984.<br /> <br /> [5]刘军平.西方翻译理论通史 [M].武汉：武汉大学出版社,2009.9.<br /> <br /> [6]百度百科：功能对等理论<br /> <br /> [7]百度百科：翻译目的论<br /> <br /> [8]百度百科：目的论的优点与不足<br /> <br /> [9]百度百科：功能对等理论的贡献与局限性<br /> <br /> [10]彭长江.英汉--汉英翻译教程[M].长沙：湖南师范大学出版社，2017.8.<br /> <br /> [11]百度百科：功能对等理论与目的论的比较<br /> <br /> =='''Comparative Study on Functional Equivalence Theory and Skopos Theory'''==<br /> <br /> '''摘 要'''<br /> <br /> 近几十年来，翻译理论层出不穷，翻译理论也带有多元化倾向。奈达从语言学的角度出发，根据翻译的本质，提出了功能对等理论，在这一理论中，他指出“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”。功能主义目的论的代表人物弗米尔认为翻译是一项有目的的活动，并且以实现译文的预期功能和效果为首要原则。<br /> 这两种理论都是具有较大影响力的西方翻译理论。它们在不同的时期由不同流派提出，本文着重分析两大理论在理论基础、翻译标准、文化观等层面上的差异性，并分析其相似性。通过对这两种理论的共性和差异进行比较，旨在加深我们对这两种貌似神离的翻译理论的认识与了解，让我们在不同的领域中能恰当地使用这两种翻译理论,更好地发挥各自的指导作用。<br /> <br /> '''关键词：'''功能对等；目的论；差异性；相似性<br /> <br /> '''Abstract'''<br /> <br /> In recent decades, translation theories have emerged in an endless stream, and translation theories have a tendency to diversify. From the perspective of linguistics, Eugene Nida puts forward the theory of functional equivalence according to the nature of translation. In this theory, he points out that &quot;Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style&quot;. While one of the representatives of functionalist skopos theory, Hans J. Vermeer, considers that translation is a purposeful activity, taking the realization of the target text’s intended function as its first principle.<br /> These two theories have great influence in western translation theories. They are proposed by different schools in different periods. This paper will focus on the differences between these two theories in terms of theoretical basis, translation standards, and cultural direction, and then analyze their similarities. By comparing the differences and similarities between the two theories, it will deepen our understanding of these two translation theories so that we can properly use them in different fields, thus better playing their respective guiding roles. <br /> <br /> '''Key words:''' Functional Equivalence; Skopos Theory; comparison<br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level. However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response. The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response. He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation. Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text. <br /> <br /> Example:“来吧，朋友!”<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text. <br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader. <br /> Example: “as white as snow.”<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory. <br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle. So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose. The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory. <br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78). Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view. The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose. <br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists. <br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as .much as possible.<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees. From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand. The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> '''3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot; In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> '''Conclusion''' <br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.<br /> <br /> '''Bibliography'''<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies: Theories and Application''[M], London &amp; New York: Routledge, 2001:77.<br /> <br /> Nida, E.A. ''Language and Culture: Context in Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press, 2001:117. <br /> <br /> Reiss, Katharina &amp; Hans J. Vermeer. ''Groundwork For a General Theory of Translation''[M]. Tubingen: Niemeyet, 1984:101.<br /> <br /> Vermeer, Hans J. ''Didacitics of Translation''[A]. ''Routeledge Encycolopedia of Translation''[C]. London &amp; New York: Rutledge, 1998:20.<br /> <br /> 陈刚．《翻译学入门》[M]．杭州：浙江大学出版社,2011:145.<br /> <br /> 范德瑞.奈达功能对等理论与功能主义目的论比较研究[J].淮海工学院学报(人文社会科学版),2019,17(04):66-69.<br /> <br /> 李长栓.《非文学翻译理论与实践》[M].北京：中国对外翻译出版公司.2009:11<br /> <br /> 张春柏.影视翻译初探[J].中国翻译,1998(2):50-53.<br /> <br /> 张锦兰.目的论与翻译方法[J].《中国科技翻译》2004,17(01):1.<br /> <br /> 张美芳.功能加忠诚--介评克里丝汀·诺德的功能翻译理论[J]．外国语,2005(1):60-65.<br /> <br /> =='''On the Comparison between &quot;Sublimation&quot; an &quot;Functional Equivalence&quot; Theories'''==<br /> <br /> '''Abstract''': Qian Zhongshu and Eugene Nida are outstanding and renowned translators in the history of Chinese and Western translation respectively. It is believed that Mr.Qian’s “Sublimation” theory and Nida’s “Functional Equivalence” theories have a broad and profound impact on Chinese and Western translation theories and practices. This paper will recognize the theoretical value of these two theories from the dialectical point of view by comparing the similarities and differences between “Sublimation” and “Functional Equivalence”. It aims to better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a historical and contradictory perspective, and thus making Translation Studies become more systematic and scientific.<br /> <br /> '''Key words''': sublimation; functional equivalence; Qian Zhongshu; Eugene Nida<br /> <br /> '''Introduction''':<br /> As a famous master of literature, translation and academy, Qian Zhongshu is considered as “the Kunlun Mountain of culture” by many scholars on account of his remarkable achievements and a wide range of knowledge. His literary masterpieces include “Pipe-awl Chapters” , “Discourses on Art”, “Seven Patches”, “Selected Essays of Qian Zhongshu”, “Fortress Besieged” and so on. What’s more, he proposed “Sublimation” theory in translation field, which does great contribution to traditional Chinese translation theory and make Translation Studies more systematic. As Chinese scholar Chen Fukang said: “He (Qian) has made a great many outstanding achievements in some important fields like literature and academic research. Although the discussion on translation is only a carved railing in his academic palace, it can have a huge impact in the field of translation studies.” (Chen Fukang 2000: 417).<br /> <br /> Eugene Nida is a famous American contemporary linguist and translation theorist. He has been devoted to the translation of the Bible and has summarized a set of translation theories from his own translation practice. The core point of his translation theory is “Functional Equivalence” (initially called “Dynamic Equivalence”). From his point of view, “Functional Equivalence” is to refer to the type of equivalent reflected in a TT which seeks to adapt the function of the original to suit the specific context in and for which it was produced” (Shuttleworth &amp; Cowie, 2004: 64). It requires that the translation should focus on the meaning and spirit of the original text, instead of being constrained by formal correspondence. According to this theory, he deems that the translation must have four criteria: (1) conveying meaning; (2) expressing spirit; (3) natural and smooth wording; (4) similar receptor response. In his book “From one language to another”, he replaced “Dynamic Equivalence” with “Functional Equivalence” and put forward two levels of meaning, say, referential meaning and associative meaning.<br /> <br /> <br /> '''1.The theoretical origin of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''1.1 The theoretical origin of “Sublimation”'''<br /> <br /> The idea of Qian Zhongshu’s translation theory of “Sublimation” comes from his book “Lin Shu's Translation” written in 1963 and “The Pipe-awl Chapters” published by Zhonghua Book Company in 1979. He proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. Then he pointed out: “The highest ideal of literary translation is ‘sublimation’. When you translate the literary works from one language to another, you can not only avoid the trace of stiffness and awkward expressions resulting from the different habits of language use, but also completely preserve the flavor of the original. Then we can say, that's the realization of ‘Sublimation’ ” (Qian Zhongshu, 2002: 77). According to his explanation, it can be easily seen that the core of his translation theory is “Sublimation”. What’s more, we can extract 3 levels of “Hua” (Sublimation) from his theory, the first is to transform the source text to target text, and then use the domesticating method to make the source language be naturally and smoothly expressed in target language without any transparent feeling of translation caused by the differences of culture and language. Finally, it is the ultimate goal of “Sublimation” that is to say, “the transmigration of souls”, replacing the external shell and retaining the inner spirit and style without the slightest deviation. In other words, a translation should cleave to the original with such fidelity that it would not read like a translation, for a literature work in its own language will never read as though it were through a process of translation (Kao, 1975: 8-9). <br /> <br /> '''1.2 The theoretical origin of “Functional Equivalence”'''<br /> Nida first proposed the concept of dynamic equivalence in the 1964 book “Toward s Science of Translating”. He believed that there were two kinds of equivalence in translation, namely formal equivalence and dynamic equivalence. Specifically, formal equivalence is the “quality of a translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. On the contrary, dynamic equivalence is the quality which characterizes a translation in which “the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (Nida &amp; Taber, 1982: 200-201). Nida’s translation theory has its origin from his own translation practice of the Bible, in which he emphasized the communicative function of translation from the perspective of semantics and information theory. What's more, he regarded translation as interlingual translation, and he stressed the importance of paying attention to the receptors' response, in order to pursue the standard that target readers could have the same response as the original readers. In his book “From one language to another”, he changed the term “Dynamic Equivalence” to “Functional Equivalence” and he emphasized that we should try to achieve formal equivalence on the basis of the accordant information conveyed from the source text to the target language. In addition, he divided the translation process into three steps, say, “analysis, transfer, restructuring and check”. Through these four steps, the original information can be accurately conveyed, the response of the target receptors is also concerned, and the purpose of communication will be well achieved.<br /> <br /> <br /> '''2.Similarities and differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''2.1 Similarities between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) The same concern for the translation processes: As we mentioned above, Mr. Qian Zhongshu proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. To put them specifically, “enticement” refers to the role that plays in cultural exchanges by means of translation. In this sense, translation can be regarded as a guide that will lead target readers to understand the original language and culture and to better understand foreign excellent works. This process is of great significance because If the readers have little interest in the source language culture and foreign literature; then the translation works will lose its value. So we can say that translation is not only a conversion of two languages, but also a collision between different cultures and thoughts. The so-called term “Misinformation” refers to the distortion and wrong expression of the translation. Since “Misinformation” is the inevitable shortcoming of translation, no matter how excellent a translator is and no matter how smooth his translations are, he can not avoid making mistakes of one sort or another in one way or another, but he can exhaust every means to reduce misinformation to its minimum (Yu Chengfa,2003: 43). This is due to the gap between different languages, the gap between the translator's understanding, the style of writing and the form of original content, and even the gap between the translator's comprehension and his ability of expression. The final step is called “Hua Jing”; here “Hua” means “Sublimation”,which is the highest ideal of literary translation and also the ultimate goal of translation processes. A translator should try to figure out what the original writer means and ponder over what he imagines so so to immerge oneself with the writer(Luo Xinzhang, 1984: 511). Qian Zhongshu's explanation of the process of translation is the essential condition for the realization of “Sublimation” (Hua). Therefore, when doing translation practice, the translator has to make each step be well prepared, which requires a high standard of the translator's ability and quality. <br /> <br /> Similarly, based on the theory of “functional equivalence”, Nida proposed a “four-step model” of the translation process from the perspective of linguistics, namely, “Analysis, Transfer, Restructuring and Check”. Nida and Taber claim that all languages have between six and a dozen basic kernel structures and “agree far more on the level of kernels than on the level of more elaborate structures” such as word order. First of all, “Analysis” denotes that we have to analyze the surface structure of the source text and then to master the grammatical meaning of the sentence, in other words, the referential meaning and connotative meaning of the source text. In order to convey the original information correctly, the translator must analyze the text from surface structure to the deep structure. Then, “Transfer”, it means that the translator renders the analyzed source text to the target text. This step contains the conversion of two different language symbols and language forms, and it is also an exchange of different thinking modes. Next, “Restructuring” is the re-processing and re-creation of the original text, in which the translator will translate the original text into the target one that conforms to the expression of the target language, getting rid of the constraints of the surface structure of the original text, thus further excavating the meaning of the deep structure. Restructuring is thus defined as forward translation, or in other words the process which is the reverse of back-transformation (Shuttleworth &amp; Cowie, 2004: 145). Last but not least, &quot;Check&quot; refers to the process of comparing the text of the original language with the target language so as to avoid semantic errors in the translation works, and pursue the maximum equivalence between the content of the target text and the content of the original text. Nida and Taber’s own description of the process (1969: 63–9) emphasizes the ‘scientific and practical’ advantages of this method compared to any attempt to draw up a fully comprehensive list of equivalences between specific pairs of SL and TL systems (Jeremy Munday, 2016: 63). <br /> <br /> (2)The same concern for the response of the target readers: Since ancient times, the domestic and foreign translators have different opinions on the criteria of excellent translation. Yan Fu proposed his famous three-character guideline, namely, “Faithfulness, Expressiveness and Elegance” in his translation work “Evolution and Ethics and Other Essays”. Similarly, western translator Alexander Fraser Tytler put forward the “Three principles of translation”. To put it simply, that the translation should give a complete transcript of the ideas of the original work; that the style and manner of writing should be of the same character as that of the original; that the translation should have all the ease of the original composition. From the analysis of Yan Fu’s and Tytler’s description of translation criteria, we can see the fact that the study of the principles and standards of translation is precisely the translator’s emphasis on the target readers, and also reflects the translator’s sense of responsibility for the target culture. Qian Zhongshu's “Sublimation” theory stressed that translators should guide our readers to read foreign literary works or let our readers be attracted by the foreign culture and introduce foreign writers to them. “Sublimation” is not only a standard for translation, but also a reflection of translators’ care for the target readers. Mr. Qian said: “The translation should be faithful to the original work, so that it does not read like a translation work, because the original work will never be read like a translation in the situation of source culture.” A good translation can stimulate the reader's curiosity about the original work and also give the reader the enjoyment of beauty. What’s more, Mr. Qian also commented the three principles proposed by Yan Fu: <br /> <br /> “Faithfulness in translation should include expressiveness and elegance. Expressiveness gives full scope to faithfulness, and elegance is not just to adore expressiveness. To convey the original in the same style---that is faithfulness. ...Many have come to understand that a translation is not supposed to beautify or polish to attain elegance. Yet few have realized that a translation has to give up the words for the spirit. A translation can be intelligible without being faithful to the original, yet can be faithful to the original without being intelligible to the reader.”(Qian Zhongshu, 1986: 1101) <br /> <br /> In the meanwhile, Nida deemed that the accuracy of the translation depends on the extent to which the ordinary readers correctly understand the original text, that is, whether the target reader can obtain similar or identical feelings when reading the translation works. The purpose of “functional equivalence” is to satisfy the communication needs of the readers. In order to achieve this goal, we have to change the form of the original text if it is necessary and consider the reader's acceptance of the translation work. Nida's “Functional Equivalence” requires not only the faithfulness to the original text, but also the accountability to the target readers and the original readers. Nida describes various “scientific approaches to meaning” related to work that had been carried out by theorists in semantics and pragmatics. Central to Nida's work is the move away from the old idea that a word has a fixed meaning and towards a functional definition of meaning in which a word acquires meaning through its context and can produce varying responses according to culture. <br /> <br /> From what we has discussed above, we can see that both Nida’s “Functional Equivalence” and Qian Zhongshu’s “Sublimation” must take the reader’s reaction into consideration. Therefore, as a standard for translation, these theories avoid mechanical textual equivalence and bilingual conversion, which promotes the development of translation practice.<br /> <br /> (3)The Domesticating tendency of the two theories: As we mentioned in the very beginning, Mr. Qian’s “Sublimation”(化) theory has three meanings, namely “Transfer”(转化), “Domesticating”(归化) and “Sublimation”(化境). It can be seen easily that “Domesticating” is a bridge connecting the transformation of source text and the realization of Sublimation in target language. In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original. In addition, he appreciates Lin Shu’s translation works, and comments that he would rather read Lin Shu’s translation than read Haggard’s original text. In this way, Mr. Qian Zhongshu seems to prefer the text of “Chinese-oriented” style, which demonstrates the tendency of “Domestication”. In the theory of “Functional Equivalence”, Nida advocates the use of the expression habits of the target language to transform the original text. He believes that language is the means of communication, and communication is the ultimate goal and an important role of translation, so he pays more attention to the receptors' response to the target text. In order to allow the target readers to accept the translation, it is necessary to make the translation correspond to the cultural traditions and language habits of the target language. At the same time, the translator has to make the translation natural and smooth under the premise of ensuring loyalty. Nida's “Domesticating” translation tendency can be seen from the above view. Please look at the following example:<br /> <br /> S: “white as snow”<br /> <br /> T: “白如木棉花” or “白如鹭毛” or “白如蘑菇”<br /> <br /> From the point of view of traditional translation standards, the above example runs counter to the original information. However, for those who have never seen snow will never know what snow is alike, and therefore he can't understand what &quot;white as snow&quot; means. Through the strategy of “Domestication”, the target readers can have a similar response to the original readers, so as to better achieve the purpose of communication.<br /> <br /> '''2.2 Differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) Different theoretical basis: Qian Zhongshu's “Sublimation” theory is based on Yan Fu’s criteria of translation “Faithfulness, Expressiveness and Elegance”, which is the development of Chinese traditional translation theory. Qian Zhongshu's “Sublimation” theory has pushed the study of translation to the extreme of art from the category of aesthetics. Eventually, the “Sublimation” theory was included in the course of the development of Chinese translation thought, say, “Case - Seeking faithfulness - Spiritual likeness - the Sublimation”. These four concepts, are independent, but also interconnected. They developed gradually to constitute a whole translation system and this whole system works as an important part of our traditional translation theory (Luo Xinzhang, 2009: 20).<br /> <br /> Nida’s “functional equivalence” was established on the basis of his Bible translation practice. Under the guidance of Chomsky’s transform-generating grammar, Nida’s functional equivalence requires that the translator analyze the given text from the surface structure to the deep structure; then transform it from the deep structure of the original text to the deep structure of the target text, and finally adjust the target language structure to obtain the surface structure of the translated version. From a series of steps, we can see that the hierarchical and theoretical property of translation studies, so Nida put forward his opinion that translation could be considered as a science. Qian Zhongshu thought that the translated works could surpass the original works and sometimes even should be much better than the original; while Nida did not choose the advantageous version between the original and the target text- his more emphasis goes to the equivalence between the two languages and the response of the target receptors thus more priorities were given to the communicative function. <br /> <br /> (2)Different scopes of their application: “Huajing” (Sublimation) was proposed by Mr. Qian Zhongshu for literary translation standards; hence it may be more appropriate for the translation of literary genre. He considered that translator should “break through” the barriers of cultural differences and make the translation “surpass” the original work. However, it seems unreasonable for the translations of applied styles which relates to politics, economics, law, trade, etc. In addition, some scholars believe that Mr. Qian’s “Sublimation” has over-emphasized the mystery of art and has become a vague standard that could be hard to reach (Gao Huali, 2009: 154). The “highest ideal” of the literary translation he described will inevitably produce the problems of “Misinformation”, which would limit the scope of application of “Sublimation”. Despite the fact that scholars and experts of one generation after another have made their fruitful efforts to shed light on “Sublimation” from various aspects, it remains theoretical unexplainable and practical unattainable, like “an attic, in the air” to many people in the translation circle (Yu Chengfa, 2003: 8) <br /> <br /> On the contrary, Nida’s translation of Bible carries religious culture with integrity and solemnity. He preached to people from all walks of life in order to spread the will of God; therefore, his translation must not only meet the needs of the aristocracy, but also the needs of ordinary people who lack knowledge of religious culture. The target readers of the “functional equivalence” theory is the masses from all walks of life in the society, and its range of application is more practical. Nida’s equivalence of translation is derived from the translation practice of the Bible. As we know, western languages have a lot in common in culture and words of expression, so Nida’s “equivalence” is relatively easy to achieve between two European languages. In English-Chinese translation, it may be more difficult to achieve complete “equivalence”, because Chinese and English belong to different language systems, and their cultures are rather divergent. Nida strictly divides the translation steps into four, which can be used as a practical translation method to guide the translation of some scientific and technical articles, announcements, and application articles. For literary genres, such as the translation of poetry and prose, the translator's creativity may be more important. It is difficult to convey the literary nature of the original text by mechanical methods and steps.<br /> <br /> '''3.A Critical Understanding of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''3.1 Is “Sublimation” faithful ?'''<br /> <br /> According to traditional translation theory, the translator is always regarded as the &quot;servant&quot; of both the original and the translated text. He must be faithful to the original author while concerning the target readers. Xu Jun (2003: 321) wrote in his book “On Translation”: “Three points are often emphasized in traditional translation theory: first of all, translators should not incorporate their own subjective thoughts in translation; then they should not express their individuality in translation; in the end, translators should render the text on the basis of original message, and loyally follow the thoughts of the original writer. From the analysis of Qian Zhongshu’s “Sublimation” theory, it is clear to see that he is more inclined to the translation strategy of “Domestication”, which emphasizes that the target version can surpass the source text. He, himself appreciates Lin Shu’s translation works, because of their common advocacy and similar historical background. From the point of view of historical materialism, “social existence determines social consciousness, and social consciousness has an adverse effect on social existence.” For example, Lin Shu was living in a closed country and at that time , Qing Dynasty was extremely arrogant or even ignorant. His style and characteristics of the translation were naturally influenced by this national sentiment. Therefore, his translation had tendency to “Domestication” or even an unfaithful translation. Qian Zhongshu lived in a period of prosperity in literature and art since the establishment of People's Republic of China and at that time Chairman Mao proposed the policy of “All flowers blossoming and hundreds of schools contending (百花齐放，百家争鸣). So our Chinese people were overflowing high spirit and proud emotion; some translators’ translation works are more inclined to take the advantages of “Domestication” and make the translation work more excellent than the original one. Such a translation strategy will be somewhat “disloyal” to the original text, and will not “sincerely imitate” the original text as Lu Xun advocates from his “Foreignization” method. It is difficult to concretely implement “Sublimation” theory, because it has become an “unattainable” goal. Whether the translation should be “Chinese-oriented” or “European-oriented”; be “faithful” or “creative”, and whether the translator should be “visible” or “invisible” in translation are all difficult standards to measure since these factors are inevitably affected by the subjective and historical objectivity of the translator. Is “Sublimation” really a faithful translation to the original text? Perhaps just as Mr. Qian himself said: “The translator’s ability to use his native language is more flexible and smooth than the original author’s ‘source language’ and that is what always happens in the history of translation.” We can consider that such “disloyal” is “faithful” in a certain sense.<br /> <br /> '''3.2 Problems of Nida’s “Functional Equivalence”''' <br /> <br /> The questions of meaning, equivalence and translatability became a constant theme of translation studies in the 1960s and were tackled by a new ‘scientific’ approach followed by one of the most important figures in translation studies, the American Eugene Nida. Eugene Nida’s theory of translation developed from his own practical work from the 1940s onwards when he was translating and organizing the translation of the Bible, training often inexperienced translators who worked in the field. <br /> As for Nida's “functional equivalence” theory, praise and opposition to his theory are always existing in the translation circle. Some people think that the theory is a representative of the science of translation science and has a good guiding role in translation practice. However, there are also some scholars who disagree with this theory and for example Peter Newmark is one of its critics. He believed that Nida’s equivalence theory takes the reader too seriously, but sometimes sacrifices the actually original thoughts of the writer. It is also doubtful whether “functional equivalence” can be applied to the original texts of various subjects. If the translator partially pursue “functional equivalence”, which will makes it difficult for the target readers to fully understand the original cultural information and it is not conducive to the mutual communication between different countries and cultures. For the above example: if we render “White as snow” as “白如鹭毛”, target readers may understand the meaning of the original author, but they still have no idea of what the word “snow” actually means. This has become a situation where we cannot get two things at the same time, or in Chinese “鱼和熊掌不可兼得”. However, If the original text is literally translated as “white as snow”, then the translator continues to explain what substance a “snow” is and what characteristics it may have and why we say its color is as white as egret’s feathers. In this way, not only can the readers of the translation work have the same response as the readers of the original, but also it is conducive for them to learn to understand new things and new concepts, which will gradually promote the communication of different cultures and the mutual interests of different countries. <br /> <br /> '''4.Conclusion'''<br /> <br /> Mr. Qian Zhongshu’s “Sublimation” theory and Nida’s “Functional Equivalence” respectively represent huge progress in Chinese and Western translation studies, and they played an important role for the reference of translation studies and practice. Their theory is likened a treasure-house that requires more investigation and more exploration. Their theory is likened a treasure-house that requires more investigation and more exploration. Furthermore, we must learn their theories with a critical view, so as to strive for innovation and establishment of a new era for translation studies.<br /> <br /> '''References'''<br /> <br /> [1]Chen Fukang. A History of Chinese Translation Theories in China [M].Shanghai: Shanghai Foreign Language Education Press.2000.<br /> <br /> [2]Gao Huali. A Short History of Translation And Interpretation in China And Other Countries [M].Hangzhou：Zhejiang University Press.2009. <br /> <br /> [3]Kao, Gorge. (trans.) Lin CH'in-nan Revisited [A]. By Qian Zhongshu. Renditions [J], autumn, 1975: 8-21<br /> <br /> [4]Luo Xinzhang.On Translation [M].Beijing：The Commercial Press.1984.<br /> <br /> [5]Mark, Shuttleworth, Moira Cowie. Dictionary of Translation Studies [M]. Shanghai: Shanghai Foreign Language Education Press. 2004.<br /> <br /> [6]Munday, Jeremy. Introducing translation studies: Theories and applications. Routledge, 2013.<br /> <br /> [7]Nida, Eugene A. &amp; Charles R.Taber (1969/1982) The Theory and Practice of Translation, Leiden: E. J. Brill.<br /> <br /> [8]Qian Zhongshu.Pipe-awl Chapters [M].Beijing：Zhonghua Book Company.1986.<br /> <br /> [9]Qian Zhongshu.Seven Patches [M].Beijing：SDX Joint Publishing Company.2002.<br /> <br /> [10]Xu Jun.On Translation[M].Wuhan：Hubei Education Press.2003.<br /> <br /> [11]Yu Chengfa. Interpreting Sublimation [D].Central China Normal University,2003.<br /> <br /> =Theory and Practise=<br /> =='''Translators' Views on Translation Influence Their Translation Behavior'''==<br /> <br /> <br /> '''Abstract:''' A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Key words:''' translator’s view; translation behavior; translation principles; responsibility<br /> <br /> '''译者翻译观对其翻译行为的影响'''<br /> <br /> '''摘要：'''译者在翻译中处于核心位置。译者的翻译观指译者本身对于翻译的理解，其中包含了译者的翻译策略和价值取向。不同的译者受其社会与文化及个人经历和意识形态的影响，会有不同的翻译观。翻译观作为译者意识形态的一种，对翻译行为有着很大的影响。对于译者来说，翻译从来不是个人行为，而是一种对原作者、原作、读者及译入语文化的责任。<br /> <br /> '''关键词：'''译者；翻译观；翻译行为；翻译原则；责任<br /> <br /> A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. And “translation behavior”, in a broad sense, includes the translators’ linguistic translation behavior and the social transcend-translation behavior. In a narrow sense, it only means the translators’ translation as a “pure” translator (Zhou 18). The “translator behavior” in this thesis is a broad one, that is, translators’ translation behavior can be influenced by their social and cultural context, their motivations for translation, their views on translation and the linguistic translatability of the SL and their translation competence (Xu Jun 199-254). Specifically, the translation behavior we will discuss is “what to translate (what works they translated)” and “how to translate (their translation principles)”. According to A. Lefevere, ideology and poetics together dictate the translation strategy and the solution to specific problems (39). The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. <br /> <br /> So how is translation behavior associated with translator’s views?<br /> <br /> From the very beginning the research of translation was limited in a certain extent, and then there were some scholars starting to study on the relationship between translation and other systems, including Even-Zohar, Bassett, Lefevere and Venuti.<br /> <br /> '''I.Some Previous Studies''' <br /> <br /> A.Even-Zohar’s Polysystem<br /> <br /> According to ''Introducing Translation Studies'':<br /> <br /> “Polysysten theory was developed in the 1970s by the Israeli scholar Itamar Even-Zohar borrowing ideas from the Russian Formalists of the 1920s and the Czech structuralists of the 1930s and 1940s . . . For the Formalists, a literary work was not studied in isolation but as part of a literary system . . . Literature is thus part of the social, cultural, literary and historical framework . . .” (Munday 165). <br /> <br /> In 1978, Even-Zohar in his “The position of translated literature within the literary polysystem”, first gives a new term, the polysystem (Even-Zohar 22), emphasizing the translated literature operates as a system in itself: <br /> <br /> (1)in the way the TL culture selects works for translation;<br /> <br /> (2)in the way translation norms, behavior and policies are influenced by other co-systems (Even-Zohar 22).<br /> <br /> Thus, translation is not isolated, but associated with other systems, for instance, the TL culture. And the ST that chosen by a culture correspond to the organized system rather than arbitrary decisions made by individuals. Also translation works occupies different position in different cultures and has something to do with the position of the national literature.<br /> <br /> B.Bassett and Lefevere<br /> <br /> Later, “Bassett and Lefevere go beyond language and focus on the interaction between translation and culture, on the way in which culture impacts and constrains translation and on ‘the larger issues of context, history and convention (11)’ ” (Munday 192).<br /> <br /> C.Lefevere: Rewriting and Manipulation<br /> <br /> Furthermore, “Lefevere focuses particularly on the examination of ‘very concrete factors’ that systemically govern the reception, acceptance or rejection of literary texts; that is, ‘issues such as power, ideology, institution and manipulation (2)’ . The people involved in such power positions are the ones Lefevere sees as ‘rewriting’ literature and governing its consumption by the general public. The motivation for such rewriting can be ideological (conforming to or rebelling against the dominant ideology) or poetological (conforming to or rebelling against the dominant/preferred poetics)” (Munday 194). And translation is the most obviously recognizable type of rewriting (Lefevere 9). <br /> <br /> Translator’s view on translation, for example, reflecting the translators’ ideology, can conform to or rebel against the social dominant ideology. <br /> For Lefevere, the literary system in which translation functions is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology.<br /> The “professionals within the literary system” include translators themselves, who decide on the poetics and at times influence the ideology of the translated text (Munday 194).<br /> <br /> Thus, the role of translator is essential and the translator’s ideology have an great influence on the translation text and the text reader. <br /> “For Lefevere, the most important consideration is the ideological one. In this case, it refers to the translator’s ideology or the ideology imposed upon the translator by patronage. The poetological consideration refers to the dominant poetics in the TL culture. Together, ideology and poetics dictate the translation strategy and the solution to specific problems” (Munday 197). <br /> <br /> D.Venuti<br /> <br /> Then Venuti insists that the scope of translation studies needs to be broadened to take account of the value-driven nature of the sociocultural framework.<br /> <br /> “Norms may be in the first instance linguistic or literary, but they will also include a diverse range of domestic values, beliefs, and social representations which carry ideological force in serving the interests of specific groups. And they are always housed in the social institutions where translations are produced and enlisted in cultural and political agendas” (29). <br /> <br /> Munday suggests, the groups and social institutions to which Venuti refers would include the various players in the publishing industry as a whole . . . Each of these players has a particular position and role within the dominant cultural and political agendas of their time and place. The translators themselves are part of that culture, which they can either accept or rebel against (217). <br /> <br /> Therefore, being part of the culture, translators are influenced by the social and patronage ideology, and the poetics. Nevertheless, translators more or less enjoys some autonomy. For example, translators’ views on translation, i.e. the understanding of translation, can be conformed to or rebellious against the culture. And then their views on translation, influence their specific translation behavior such as the works they choose to translate and their translation principles. Next are three examples for us to discuss how the translators’ views on translation immediately influence their translation behaviors. <br /> <br /> To narrow the differences of the social ideology down, three translators in modern period of China (after 1949) will be discussed in this thesis. However, because they are born in different climate and stage of the society, no doubt that they have distinctive world outlook from each other, resulting in their distinctive views on translation. But focus will still be on the influence exerted by their views on their translation behavior. <br /> <br /> II.Three Examples in Modern Period of China<br /> <br /> A.Xu Yuanchong (1921-): Translation is translators’ responsibility. <br /> <br /> For Xu Yuanchong, Chinese translators have a responsibility to translate the foreign masterpieces into Chinese and Chinese excellent works of literature into foreign languages, in order to introduce the advanced ideas to China and also bring the foreigners the splendid culture of China, during which the world will be more culturally rich and diversely civilized.<br /> <br /> In this case, Xu Yuanchong further puts forward that the histories and evolution of the two cultures are very different from each other, with distinct advantages and disadvantages If they can learn the strong points from each other to offset their weakness, they can both be improved. In this respect, translation can be considered as a rivalry between two different cultures. The translation can even surpass the original work. If we make full use of the advantages of one culture to perfect another , the culture of all the humanity will be developed. This is the ultimate goal of the translator (“Surpass” 47). Based on this view, Xu Yuanchong proposed the Rivalry Theory and the Theory of Advantage.<br /> <br /> Therefore, in order to exchange the advantages between cultures, the foreign works Xu Yuanchong had translated are some western masterpieces includes: ''Madame Bovary'', ''Le Rouge et le Noir'', ''Jean Christophe'', etc. And also some Chinese classical works especially the classical Chinese poetry: ''150 Tang Poems'', ''100 Tang and Song Poems'', ''300 Poems Chinois Classiques'', ''Selected Poems of Mao Zedong'', ''The Romance of Western Bower'', ''Earth-shaking Songs'' (the selected poems written by Chinese modern revolutionists), etc. By translating the essence of one culture and ideology into another languages, he demonstrates our advantages and at the same time offers Chinese people the opportunities to enjoy the classics of another culture.<br /> <br /> Xu Yuanchong’s view on translation also influences his translation principles. Take the first sentence of ''Jean Christophe'' as an example:<br /> <br /> Le grondement du fleuve monte derrére la maison. (Jean Christophe)<br /> <br /> From behind the house rises the murmuring of the river. (English)<br /> <br /> 江声浩荡，自屋后上升。(Fu Lei)<br /> <br /> 江流滚滚，声震屋后。(Xu Yuanchong)<br /> <br /> The french word “grondement” means “roaring” or “murmuring” in English. The English translation seems to be coherent in the paragraph and the following content. However, as to the whole work, Xu Yuanchong considers that “浩荡” in Fu Lei’s translation is more powerful and symbolic of the spectacular river cutting through Europe, and some readers even take Fu Lei’s translation as “the classical opening sentence” of the work, which proves it a translation that surpasses the original one.<br /> <br /> And then Xu Yuanchong also translated this sentence (as above), replacing “浩荡” with “滚滚” for its more similar sound to “grondement”. And “声震屋后” is also a symbol of the impact of the great achievement of the musician in the work (Yang et.al 35-38). Here appears another translation principle of Xu Yuanchong: “literary translation is art (''Art 20'')” and “beauty in three aspects”, namely, “beauty in sense, beauty in sound and beauty in form”, having developed Lu Xun as well as Lin Yutang’s theory of beauty. This is the reason why Xu Yuanchong emphasizes the similar sound of “滚滚” to “grondement”. Another example is still a sentence in ''Jean Christophe'': <br /> <br /> Il marchait sur le monde. (''Jean Christophe'')<br /> <br /> 他踏着全世界直立着。（鲁迅）<br /> <br /> 他顶天立地的在世界上走着。（傅雷）<br /> <br /> (qtd. “Re-creation” 222)<br /> <br /> Which translation corresponds to the original best? Lu Xun’s translation is similar in from while Fu Lei’s is in style. In this case, Xu Yuanchong considers there is one solution, that is to change the question as “Which translation is more beautiful and delightful for readers?” He also quotes “Qu’ importe celui qui crée? Il’y a de réel que ce qu’on crée” said by Romain Rolland to indicate that the translator ought to make the translation more of art to give readers an enjoyment of beauty rather than to captiously keep the author’s style. So he is in favor of Fu Lei’s translation.<br /> <br /> The last example goes to the translation of the last sentence of ''Uprising Songs'' (《起义歌》) written by Sun Zhongshan, collected in ''Earth-shaking Songs'':<br /> <br /> 顶天立地奇男子，要把乾坤扭转过来。(''Uprising Songs'')<br /> <br /> Heroes of indomitable spirit, arise! <br /> <br /> Let us transform the old world and reverse the tide! (previous translation)<br /> <br /> Heroes who would move heaven and earth, arise! (Xu Yuanchong)<br /> <br /> Xu Yuanchong suggests that in the previous translation, translating “顶天立地” only into “indomitable spirit” is in want of the image of “天” and “地”. Also, as it were, the readers cannot enjoy the beauty of the SL, which is thus a failure in the rivalry of two cultures. So he translated the sentence as above, keeping the impression of “天地” to have the readers appreciate the beauty of the original work, in other words, to win the rivalry between the ST and TT (“Re-creation” 221-222). <br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized. The translation not only should be faithful to the original, but also be powerful and infectious to readers, even giving an much more profound impression than the original work.<br /> <br /> B.Liu Zhongde (1914-): Translation is a way to make foreign masterpieces to serve China. <br /> <br /> In order to make the western masterpieces more popular in China, Liu Zhongde decided to devote himself to a career in translation. By translating the western works into Chinese, as far as he concerns, the advanced thoughts can serve Chinese intellectuals and further improve the whole country. He was the first person who introduced Jane Austin’s ''Emma'' to China. But he were not satisfied with his first translation of ''Emma'' and at last in 1990s he re-translated it and corrected the errors he had made, which reflected his spirit of improving himself constantly and his rigorous scholarship (Ten 178 ).<br /> <br /> Thus, most works Liu Zhongde translated were the western classics such as ''Uncle Tom’s Cabin'', ''Confessions of an English Opium-Eater'', ''Emma'', ''Darwin'', etc. He seldom translated Chinese works into English. <br /> <br /> In order to convey to the Chinese readers the exact ideas and original style and content of the ST, Liu Zhongde puts much emphasis on the “closeness” of the translation. He says the translator should always remember what he is working at is a literacy work written by somebody else and try his utmost to turn his translation into a work of art which is in conformity with the thought, feeling and style of the original. Thus, the translation will be as moving and vivid as the original work and the reader may be aesthetically entertained as well (''Ten'' 122-123). <br /> <br /> Therefore he developed from Yan Fu’s three principles－“信达雅 (faithfulness, expressiveness and elegance)” into “信达切 (faithfulness, expressiveness and closeness)” as a set of principles for translation reference: “The style of your translation must correspond, or at least, be close, to that of the original you are working at . . . the ideological content, linguistic expression and stylistic characteristics of a literary work constitute a unified entity, and the translator should reproduce the three elements as a whole” (''Ten'' 122). <br /> <br /> Being different from Xuyuanchong, Liu Zhongde holds that “literary translation has a double nature. That’s to say, on the one hand, it is a science with its own laws and methods and on the other, it is an art” (''Ten'' 2).<br /> <br /> So how exactly does Liu Zhongde’s views on translation influence his translation principles? There are two examples as follows.<br /> <br /> Here is a translation of “回乡偶书” by Liu Zhongde:<br /> <br /> 回乡偶书 <br /> 少小离家老大回，乡音无改鬓毛衰。<br /> 儿童相见不相识，笑问客从何处来。<br /> (the original poem)<br /> <br /> Homecoming<br /> I left home quite young, and I come back very old.<br /> My accent remains the same, but my hair turns gray.<br /> Kids don’t know me when one another we behold.<br /> “Where do you come from?” with a smile to me they say.<br /> (Liu Zhongde’s translation)<br /> <br /> This translation adapts so well the style and features of TT to the ST that it seems to be an original work written by Liu Zhongde himself. We can appreciate the same meaning and emotion the original work expresses. The TT keeps the the same number of lines just as the ST: each of the sentence has 12 syllables. The rhyme pattern of ST is also kept: the first line rhymes with the third, and the second with the forth. The TT is exactly an expression of sound, form and sense of the ST (Jiang 196-197).<br /> <br /> The next two examples are from Liu Zhongde’s re-translation of ''Emma'':<br /> <br /> (1)The truth is, Harriet, that my playing is Just good enough to be praised, but Jane Fairfax’s is much beyond it.<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却是神乎其技了。(Previous translation)<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却大大超过我的弹奏。(Liu Zhongde)<br /> <br /> “神乎其技” in the previous translation does not correspond to the plain style of “much beyond it” in ST. It is true that a Chinese four-character-word can embody a complex meaning, but the style it can be applied to is supposed to be formal and academic. In this sentence, the style of “神乎其技” is not appropriate at all, while a simpler word should be used. Thus Liu Zhongde replaced “神乎其技” with “大大超过我的弹奏”.<br /> <br /> (2)“Just as they always do-very vulgar.”<br /> <br /> 还不是像他们平常那样——俗不可耐。(Previous translation)<br /> <br /> 还不是像他们平常那样——很庸俗。(Liu Zhongde) <br /> <br /> (Jiang 278-279)<br /> <br /> The four-character-word “俗不可耐” in the previous translation does not conform to the plain or colloquial style of ST, either, just like “神乎其技” mentioned above. Liu Zhongde changed it into “庸俗” to be in line with the original style. <br /> <br /> For Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected by him and the “closeness” in translation is underlined to convey the closet meaning and style of the original. <br /> <br /> C.Li Jihong (1980-): Translation after all is one of the material production activities of human beings.<br /> <br /> As to Li Jihong, translation after all is one of the material production activities of human beings. In an article called “The Literary Translation Should Keep Pace with the Times: The Translation Speed and Pay” against the view of another translator, Shi Kangqiang, he says that the pay of translation in the new period is different from that of the old times, mainly because of the translation tools which belonging to the production tools, have already been developed today into computers, digital data, Internet, etc. As a result, the translation speed is supposed to be improved. Therefore, a professional translator nowadays can definitely earn a decent life by translating 1000 words each hour, 8 hours a day. And for every 1000 words they can earn 60 ''yuan''.<br /> <br /> The article aims to oppose to Shi Kangqiang’s opinion that the appalling pay translators receive influence the quality of the translation, but it also reveals Li Lihong’s view on translation from his borrowing lots of economic theories and activities, numbers, calculation of the pay to support his opinion, his favors to the publishers’ increasing reward on the sales of the translation work and his announcement that he have translated ''The Kite Runner'' (written by Khaled Hosseini), 195190 words, for only 10 days, 15 hours a day.<br /> <br /> In this article he also says: “Any responsible translators will not translate for the personal income,” but he adds next, “ In fact, the support for his translation is the letters from readers, in addition to the high income.” Although the total contradiction in his saying is confusing, it still can be inferred that money is an important motivation for his translation, if not the most important one. <br /> <br /> The works Li Jihong translated are foreign classics such as ''Le Petit Prince'', ''The Old Man and the Sea'', ''Animal Farm'', ''The Great Gatsby'', ''Walden'', ''The Moon and Sixpence'', ''Pride and Prejudice'' and ''The Sound and Fury''. However, all those works and the values of them have already been well received in China, with several translations in market. <br /> <br /> To begin with the work that he have translated “for only 10 days, 15 hours a day” as he says, ''The Kite Runner'' written by Khaled Hosseini:<br /> <br /> (1)We left the old man on the steps of that building. I meant to take him up on his offer, come back and see if he’d unearthed any more stories about my mother. But I never saw him again (Hosseini 251).<br /> <br /> 我们离开了坐在那座房子台阶上的老人。我原想带他到他的办公室去，看看他能否想起更多关于我妈妈的事情。但我再也没有见到他 (Li 243)。<br /> <br /> In this text, “take somebody. up on something” means “to accept an offer, an invitation that somebody has made 接受（提议或邀请）” in ''Phrasal Verbs Dictionary'' (438). Also according to the whole context, the old man, a beggar, had been a colleague of “my” mother who I had never met. He told me a story about “my” mother and promised me more details about her: “ The old man smiled. ‘I’ll try to remember and that’s a promise. Come back and find me ’ (Hosseini 250).” It can be inferred that the old man offered the narrator a chance to know more about his mother. Thus, the “offer” means “邀请” instead of “办公室 (office)”. What’s more, It seems like the word “offer” is misread as “office” by the translator. Perhaps the translator is too busy translating as fast as possible to check his translation carefully.<br /> <br /> (2)“Your job today is to pass gas. You do that and we can start feeding you liquids. No fart, no food.” He laughed again (Hosseini 297). <br /> <br /> “你今天的工作是排便。你完成之后我们才能开始喂你吃流食。不见粪便，不给食物。”他又哈哈大笑 (Li 287)。<br /> <br /> The speaker was a staff in hospital, and he was asking the patient who had just come to himself from a surgery “to pass gas”. The relevant meaning of “gas” in ''The New Oxford Illustrated English-Chinese Dictionary'' is “[物理]气体、瓦斯” (726), of “pass” is “通过” (1338). And “fart” as a noun means “放屁 (emit wind from the anus)” (632). In conclusion, “排便” does not correspond to the original meaning of the ST. So the translation can be righted as “你今天的工作是排气。你完成之后我们才能开始喂你吃流食。不放屁，不给食物。” This is also a very small and simple mistake. The translator should be more cautious about translating.<br /> This summer holiday I have read another book translated by Li Jihong: The Moon and Sixpence written by William Somerset Maugham, and also find some odd translation and neglect. Here are two examples:<br /> <br /> (1)“Do you think it’s likely that a man will do any good when he starts at your age? Most men begin painting at eighteen.”<br /> <br /> “I can learn quicker than I could when I was eighteen (Mauguam 48).” <br /> <br /> 你认为一个人从你这个年纪开始学画能学得好吗？大多数人从十八岁就开始画了。”<br /> <br /> “如果我今年十八岁，我可以学得快一些 (Li 54)。” <br /> <br /> The second sentence, a very simple one, means that even if “I” am old now, I can learn even quicker than I could when I was at eighteen. In Chinese it can be translated as, for instance, “我能比我十八岁的时候学得还快.” But Li’s translation “如果我今年十八岁，我可以学得快一些” means “I can learn quicker if I were eighteen,” which has a totally different meaning from the ST. <br /> <br /> (2)...for they felt themselves freemen of a country whose frontiers include them all, the great country of Cockaigne (Mauguam 169).<br /> <br /> 因为他们觉得大家都是自由民，同属于想象中的天堂之国 (Li 203)。<br /> <br /> According to Encyclopedia Britannica, “Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand. References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone. Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna.” Being ignorant of the rich meaning of this word, Li Jihong translated it to “天堂之国” without any explanation. In fact, in this book, Li Jihong adds 206 explanatory notes for the words like “Shakespeare (莎士比亚)”, “Balzac (巴尔扎克)” and “Footnote (生丁)”, however, “Cockaigne” is not included. <br /> <br /> Li Jihong’s translation is popular for his elaborate introduction of the work and explanatory notes, which as he says, can help readers to understand the work easier. And some famous people also recommend his translations for his translation is more understandable than others. However, as far as I am concerned, being understandable is not the essence of a translation. <br /> <br /> From Xu Yuanchong and Liu Zhongde we know there are various translation principles, for instance the former’s “beauty in three aspects: sense, sound and form” and the latter’s “faithfulness, expressiveness and closeness”, nevertheless, the “faithfulness” to the original is emphasized. <br /> <br /> III.Conclusion<br /> <br /> This is how the views of translation influence the translators’ behavior, specifically the translation work choosing and their translation principles demonstrated by the translation examples of the three translators.<br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized; while for Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected and the “closeness” in translation is underlined to convey the closet meaning and style of the original. In fact, for both of them translation should be a responsibility that should be treated serious by translators, while as for Li Jihong, translation is just a production activity, a tool to make money or to gain the population, fame and the sense of superiority. Therefore, the economic effect and the speed is highlighted, the minor mistakes were made, and the translator’s personality was manifested so much that it even overshadowed the style and meaning of the original work. <br /> <br /> For those responsible translators, their translations, imprinted all their individual ideology, experience and reflection, almost like an original work, are supposed to be a special thing. As Thomas C. Foster puts at the end of his How to Read Literature Like a Professor, “My favorite was the apology to the poem itself: ‘Well, little book, you’re not that much but you’re the best I could make you. Now you’ll just have to make your way in the world as best you can. Fare thee well.’” (129), a lot of care and attachment will be taken to the work you made, whatever it is, a poem, a fiction or a translation work. Only if you devote yourself to the translation with painstaking effort, can the translation be respected and appreciated by your readers.<br /> <br /> Fu Lei had ever said, “translation should be based on the knowledge of art: without a sensitive soul, earnest sympathy, appropriate appreciation, relative social experience or sufficient common sense (i.e. broad knowledge), a translator neither will understand the original work thoroughly nor grasp the essence of it” (qtd. Xu Jun 253). Because that translators’ views on translation have a great influence on his translation, he should first be earnest to “translation”, and then be diligent, especially when the translation work is carrying the weight of the original work. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Work Cited'''<br /> <br /> 胡塞尼· 卡勒德. (Hosseini, Khaled). 《追风筝的人》 (''The Kite Runner''). 李继宏译 (Tran. Li Jihong). 上海: 上海人民出版社, 2008. <br /> <br /> 蒋坚松 (Jiang Jiansong) 彭利元 (Peng Liyuan), ed. 《刘重德翻译思想及其他》(''Liu Zhongde’s Tanslation Theories and Others''). 长沙(Changsha): 湖南师范大学出版社 (Hunan Normal University Press), 2003. Print.<br /> <br /> 李继宏 (Li Jihong), 《文学翻译也需与时俱进：谈谈翻译速度和稿酬问题》 (“The Literary Translation Should Keep Pace With the Times: The Translation Speed and Pay”). 豆瓣网 (douban). 13 Jan. 2013 &lt;https://site.douban.com/179084/widget/articles/10191245/article/23864139/?dt_dapp=1&gt; <br /> <br /> 刘重德 (Liu Zhongde), ed.《文学翻译十讲》(''Ten Lectures on Literary Translation''). 北京(Beijing): 中国对外翻译出版社 (China Duiwai Translation Press), 2000. Print.<br /> <br /> 毛姆·威廉. (Maugham, William). 《月亮和六便士》 (''The Moon an Sixpence'').李继宏译 (Trans. Li Jihong). 天津 (Tianjin): 天津人民出版社 (Tianjin Renmin Press), 2018. Print. <br /> <br /> 许钧. (Xu Jun).《翻译论》(''Translation Theory''). 武汉 (Wuhan)： 湖北教育出版社 (Hubei Education Press), 2003. Print. <br /> <br /> 许渊冲. (Xu Yuanchong). 《译文能否胜过原文》(“Can the Translation Surpass the Original”). 《教学研究》(''Teaching Method Research''), no. 2 (1982): 39-47.<br /> ---. ed.《再创作与翻译风格》(“Re-creation and Translation Style”). 《文学与翻译》 (''Literature and Translation''). 北京 (Beijing)：北京大学出版社 (Beijing University Press), 2016. 221-229. Print.<br /> <br /> ---.《翻译的艺术》(''The Art of Translation''). 北京 (Beijing): 五洲传播出版社 (Wuzhou Chuanbo Press), 2006. Print.<br /> <br /> 杨绛(Yang Jiang), 李文俊 (Li Wenjun, et al.) 等. 《一本书和一个世界》(''A Book and A World''). 北京 (Beijing): 昆仑出版社 (Kun Lun Press), 2005: 35-38. Print.<br /> 周领顺. (Zhou Lingshun). 《译者行为批评：理论框架》(''A Theoretical Framework for Translator Behavior Criticism''). 北京 (Beijing)：商务印书馆 (The Commercial Press), 2014. Print.<br /> <br /> Bassnett, S. and A. Lefevere. ''Translation History and Culture''. London and New York: Pinter, 1990. Print.<br /> <br /> Cockaigne. ''Encyclopedia Britannica''. 27 Jun. 2013. Web. 17 Nov. 2019 &lt;https://www.britannica.com/topic/Cockaigne &gt;<br /> <br /> Even-Zohar, Itamar. The position of translated literature within the literary polysystem. ''Papers in Historical Poetics''. Tel Aviv: The Porter Institute, 1978. 21-7. Print.<br /> <br /> Fart. ''The New Oxford Illustrated English-Chinese Dictionary''. Beijing: Renmin University of China, 2004. Print. <br /> <br /> Foster. C. Thomas. ''How to Read Literature Like a Professor''. New York: HarperCollins Publishers Inc. 2003. Print. <br /> <br /> Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print. <br /> <br /> Lefevere, A. ''Translation, Rewriting and the Manipulation of Literary Fame''. London and New York: Routledge, 1992a. Print.<br /> <br /> Maugham, William. ''The Moon an Sixpence''. London: Pan Books Ltd, 1974. Print.<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies''. New York: Routledge, 2012. Print.<br /> <br /> Take sb. up on sth.” ''Phrasal Verbs Dictionary''. 2013. Beijing: Foreign Language Teaching and Research Publishing Co., Ltd, 2017. Print.<br /> <br /> Venuti. L. The Scandals of Translation: ''Towards an Ethics of Difference''. London and New York: Routledge, 1998. Print.<br /> <br /> =Contemporary Translation Studies=<br /> =='''An Analysis of the Book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications'''''==<br /> <br /> '''摘要：'''爱德温·根茨勒的《当代翻译理论》和杰米里·芒迪的《介绍翻译理论：理论与实践》被视为翻译史上不可多得的巨作。本文通过对两本巨著的介绍之后，节选了其中有名的翻译理论即尤金·奈达的形式对等理论和功能对等理论以及亚历山大 弗雷泽·泰特勒和严复的翻译原则进行比较，来阐述了翻译的基本准则。通过对比尤金·奈达的形式对等和功能对等理论，找出其优缺点并结合适当的例子，有利于读者把握奈达的翻译思想来更好地指导其翻译实践。同时，通过分析亚历山大 弗雷泽·泰特勒的翻译原则的优缺点再将其与严复的翻译理论做比较，有利于读者理解中西方翻译的差异，来更好地理解在跨文化的语境中如何做好翻译。<br /> <br /> '''关键词：'''爱德温·根茨勒、《当代翻译理论》、杰米里·芒迪、《介绍翻译理论：理论与实践》、尤金·奈达、形式对等、功能对等、亚历山大·弗雷泽·泰特勒、严复、翻译原则 <br /> <br /> '''Abstract:''' ''Edwin'' Gentzler’s ''Contemporary Translation Theories'' and Jeremy Munday’s ''Introducing Translation studies: Theories and Applications'' are both regarded as the masterpieces in the discipline of translation. After giving a brief introduction of these two great works, this paper tends to select the famous translation theories from the book namely Eugene Nida’s formal equivalence and functional equivalence and the translation principles of Alexander Fraser Tytler and Yan Fu to define the basic principles of translation. After analyzing the Nida’s theories of formal equivalence and functional equivalence, it is better for the readers to understand the Nida’s translation ideas to better guide him in the translation practice by combining the concrete examples to illustrate its advantages and disadvantages. In the meantime, by analyzing the advantages and disadvantages of Tytler’s translation principles and the comparison between the translation principles of Tytler and Yan Fu, it’s better for the readers to understand the influence of difference in the eastern and western cultures on translation. In such a way, it’s better for the translators to do the translation practice in the cross-cultural situation.<br /> <br /> '''Key words:''' ''Edwin'' Gentzler; ''Contemporary Translation Theories''; Jeremy Munday; ''Introducing Translation Studies: Theories and Applications''; Eugene Nida; Formal Equivalence; Functional Equivalence; Alexander Fraser Tytler; Yan Fu; Translation Principles<br /> <br /> '''Introduction:'''<br /> <br /> In this essay, it presents the author’s understanding of the two books: ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''. After a brief introduction of these two books, this paper tends to concentrate on the discussion of four important translation theories. This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. Secondly, it will give a short introduction of the book ''Introducing Translation Studies: Theories and Applications'' and it will fix its attention on the translation principles of Tytler and then make a comparison of Yan Fu’s translation principle “Faithfulness, expressiveness and elegance”. By deeper analyzing these two similar translation theories, we can find some commonness and difference in these two translation theories by taking the culture and thinking modes into consideration. At last, this paper intend to give a brief comparison between these two great books by taking the consideration of writing style and content arrangement. All in all, this paper intends to give the readers a better understanding of these two great books and provoke their reflection about these two books.<br /> <br /> <br /> '''I Analysis of the book ''Contemporary Translation Theories'''''<br /> <br /> Recently, it is a great pleasure to read a very famous book called ''Contemporary Translation Theories'' whose author is called Edwin Gentzler. The second edition of this book has received great success. The publication of this book is significant to the global translation study academia. “Since the mid-19th century, translation theory has maderapid progress, Edwin Gentzler finds out what is useful and rejects what is useless on the translation of today's theories in this book”(Li 2014:111). He also makes a Detailed description in detail several major schools of translation:The North American Translation Workshop, the “Science” of Translation, Early Translation Studies, the Polysystem Translation and Deconstruction. In this book, it presents what is happening in different parts within the discipline. “Gentzler uses his provoke thinking viewpoint to trace the development of literary translation studies from the American translation workshop program, through the polysystems research to deconstruction and postcolonial translation theory and beyond”(Xu and Wang 2000:42). This book not only provides us with a deep way of theorizing the translation but also is effectively a translation practice . At the end of this book, he also points out the future of translation and sends his positive attitude about the translation’s future. The author turns a whole number of the complex theoretical material into accessible language, so that everyone who doesn’t read any books about translation can read this book freely. Apart from that, each chapter in this book is separated so you can read each chapter alone without relying on your understanding of the other chapters. By this way, it is more convenient for us to find the topic of translation that we are interested in to read and find valuable informationfor us. Gentzler’s book provides us with a precise analysis about what the translation school achieved so far and gives his insight into the future of translation. <br /> <br /> “This book stands as a continuing translation textbook with some of the most important theories in the field such as “the same aesthetic experience, dynamic equivalence, corresponding literary function, or the deconstruction theory of Derrida”(Li 2014:112). Despite distinct focus, each theory is completed by a conceptual framework that thinks original existence and an understanding of it in the target society. At present, “all translation theories have kept rigid distinction between original texts and their translations text”(Xu and Wang 2000:43). <br /> <br /> In the chapter 2, this book introduces the American translation workshop. In this chapter, it mainly introduces the A. Richard’s new criticism and translation, Ezra Pound’s theory of luminous details, Frederic Will’s the paradox of translation and Lawrence Venuti’s rethinking translation. In it workshop, “it emphasizes that translation is a marginal activity, not considered as a proper field of study”(Gentzler 2001:5). However, as time goes by, the process of growth and acceptance of translation boost when many translation courses and workshops were being offered at many universities. There appears many works about this translation workshop but it does not have many books about the translation theories. “In this workshop, the personal opinions may offer some help, but it still lacks the consistent theory to support translation”(Gentzler 2001:44). Therefore, it needs urgently a classified theory for the translation and it yields the coming of the “science” of translation. In this book, it mainly introduces Eugene Nida’s formal equivalence and dynamic equivalence and Noam Chomsky’s syntactic structure and generative-transformation grammar. Here, it will illustrate my understanding of these two concepts about formal equivalence and dynamic equivalence. Edwin Gentzler illustrated the concept of dynamic equivalence in his book ''Contemporary Translation Theories'', ''Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. The relationship between the target language receptor and the target text should generally be equivalent to that between the source language receptor and the source text''(2001:48). <br /> <br /> In the dynamic equivalence, Nida focus on the correspondence of the feeling between the target language and the receptor and the source language and the learner. By his understanding, these two feeling should be the similar. More specifically, “dynamic equivalence considers more about the relationship between the reader and the information, which means that the target reader's response to the target text should be the same as that of the source reader's response to the source text”(Liu 2012:242). “Any foreignness and translationese should be avoided in the target text”(Ju 2000:203). Now, it will <br /> list the advantages of dynamic equivalence. <br /> <br /> “On the one hand, the dynamic equivalence is “somewhat like the free translationwhich emphasizes the translation should achieve the same effect instead of being limitedin the content and form” (Li 2014:112). “It concentrates on the correct way of translating the content of the original text”(Shakernia 2013:2). On the other hand, “it focuses on readers' reaction and analyzes the translation process from the viewpoint of target readers”(Nida 1995:225). In this way, translation is not a single activity, but more social elements are added to make the translation concrete and specific. Moreover, in the dynamic equivalence, due to its classified translation principle it is more suitable to the translation of technology and science essays. The dynamic equivalence provides us a <br /> detailed rule of translation during our process of translation so when we translate, we can find the reasonable principles to rely on. These essays should be more formal and official.<br /> <br /> However, although the dynamic equivalence has gained a lot of praises it still deserves some limitations. Firstly, “it is just a language conversion and ignores the cultural information taken by the language, resulting in cultural domestication”(Liu 2012: 245). In fact, cultural differences are objective and can not be inevitable, and no one can avoid them. If you have to maintain a dynamic equivalent translation, it will definitely have a negative impact on cultural communication. For example, “‘dongfeng’ is a positive image in Chinese culture while in western society it thinks the west wind is goodmorality”( Shakerni 2013:2) Therefore, it is strange that Shelley's singing of the west wind is translated into &quot;ode to the east wind&quot;, because it will hinder the Chinese readers' understanding of the western world. What's more, to judge whether the target readers have similar effects is uncertain and unpractical because they are different in gender, age,educational background and life experience, etc. Strictly speaking, the reader's response is a variable that cannot be regarded as equivalent to the standard effect. Finally, dynamicequivalence information in the text does well, just like the Bible, but it is difficult to realize literary translation, text language is different from general language. Dynamic equivalence, as a concept, puts an .an overly narrow focus on the response of the active hearers, perhaps sometimes at the expense of other factors which are also crucial to adequate translation, such as the accuracy of the message, the uniqueness of the original historical setting. <br /> <br /> Next, it will list the definition of formal equivalence. “Formal equivalence is simple and source-oriented. It is like a word for word literal translation”(Shakernia 2013:2). Formal equivalence concentrates on the message itself, in both form and content. “One is concerned that the message in the receptor language should match asclosely as possible the different elements in the source language”(Shakernia 2013:3).The use of formal equivalents might at times have serious implications in the target text since the translation will not be easily understood by the target readership. For example, “in the translation of the sentence of greet others with a holy kiss, these two different equivalence can have distinctly different translation”(Shakernia 2013:3). In the formal equivalence translation, we need to translate it into the translation of saying hello to others with a holly kiss. But it seems strange to others because what’s the meaning of holy kiss. Then, we need to add one explanation of holy kiss which is in the ''old testament'' the holly kiss is usually treated as a usual way to greet others. However, in the dynamic equivalence, we need not to take the correspondence of the structure into consideration. We only need to pay attention to the reaction of receptorsof language. We can translate it into the translation of shaking hands with others enthusiastically. From the above example, it’s clear to find the focus of these two equivalences is very different therefore the translation can be different. <br /> <br /> Here, it will try to figure out the advantages and disadvantages of formal equivalence. One of the most distinguished advantage of the formal equivalence is that in this translation, “the formal equivalence is keenly oriented towards the source language structure, which exerts strong language influence in determining accuracy and Correctness”(Nida 1995:223). Because the formal equivalence emphasizes the completetranscript of the original text’s content and form so it will have the consistent structure of the original text.Another advantage of formal equivalence is that it put much focus on the accuracy.Because in such translation theory, the target language will try to find a equivalent in the source language. For example, in the sentence of “Please fetch me a glass of water” when translating it into Chinese, we will try to find each word equivalent in Chinese. We will try to find each word such as “please”“fetch”“me” and so on. Then we can find the equivalent in Chinese which can be transliterated into Chinese as “Qing gei wo yi bei shui”. Apart from that, let’s move on to the disadvantages of formal equivalence. One of the obvious disadvantage of the formal equivalence is that sometimes it will neglect the intent of the original text. Because the formal equivalence isreferred as to the literal translation and in such way it may overlook the author’s intent. For example, we often hear Chinese people say:“Ni chi le ma?” In fact, it’s a way to greetpeople in Chinese custom while we cannot translate it into English as “Have you eat your dinner or lunch?”. Instead we should translate it into English as “Hello!”or “Hi!” <br /> <br /> Among these two theories, Nida puts the dynamic equivalence in the first place. It has been viewed as his core contribution to the modern translation filed. “Nida pays attention to readers' response and advocates replacing the expression of foreign culture in the original text with the expression habit of the receiving language, namely, domestication”(Nida 1995:224). By far, “Nida has achieved a lot in translation study. He simplifies Chomsky’s theory and adopts only the later two part of the model in order to validate his science”(Gentzler 2001:52). “He is aware of the nature of a practice-oriented approach, attempts to scientifically validate his methodology and apply it to translation as a whole” (Panou 2013: 1) . In this chapter, it also talks about Noam Chomsky’s contribution to the linguistic and translation. In Chomsky’s opinion, the linguistic is a study of science and we can apply many linguistic principles to translation, therefore, the translation can also be said a study of science. Among the Noam Chomsky’s contribution is his transformational-generative grammar. “It is a theory that talks about why people can talk and how people can learn new sentences. It is a theory about language ability. Chomsky holds his opinion that basics and transformation form grammar” (Zhou 2019:5). The basics form deep structure and deep structure transforms to surface structure. Word’s meaning belongs to deep structure . Besides, “he thinks thatlanguage is a unique human natural constitution. Language ability should be more focused on not rather language behavior”(Zhou 2019:6). “The TG Grammar tries to reveal the unity of particular grammars and universal grammars, to explore the universal rules with the hope of revealing the human cognitive system and the essential nature of human being”(Zhu 2018:241). <br /> <br /> Both Chomsky and Nida believe that deep, coherent and unified entity exists behind whatever manifestation language takes. However, there exists some difference <br /> between their opinions. “Chomsky would not jump to conclusions based on correlations between just two languages, nor assume that a grammar to a particular to one language would work systematically for another” (Li 2011:395). While Nida holds the belief that deep structure and transformatio-nal rules which is divorced from all the problems of translation are similar across languages. All in all, these two great persons all make a big contribution to translation and their theories are still widely used today.<br /> <br /> <br /> '''II Analysis of ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> As for the second book: ''Introducing Translation Studies: Theories and Applications'' , it is a very populary book which has undergone through the fourth edition. ''Introducing Translation Studies: Theories and Applications'' remains the definitive guide to the theories and concepts that make up the field of translation studies. This fourth edition has been fully revised and continues to provide a balanced and detailed guide to the theoretical landscape. “Each theory is applied to a wide range of languages, including Bengali, Chinese, English, French, German, Italian, Punjabi, Portuguese and Spanish”(Liu and Deng 2010:54). It starts with the definition of translation and then presents us the translation theory before the twentieth century to the modern translation theory. It focus on many important translation theories such as systematic translation theory, polysystem theory translation, functional theories of translation, and so on. There are three reasons why I like this book very much. Firstly, this book is full of content which is arranged carefully and skillfully for the readers to read. It contain an introductory table clearly presenting key terms and ideas, the main text, describing in detail the models and issues under discussion, an illustrative case study, which applies and evaluates the main model of the chapter, suggestions for further reading, a brief evaluative summary of the chapter and a series of discussion and research points to stimulate further thought and research. I am extremely fond of the case study in this book which is also a unique feature of this book. In the case study, it will list a related case about the translation issue in this chapter for readers to think and then this book provide us with a discussion of case studies for us to reflect our thinking. I think it’s a good way for us to relate the knowledge of book into reality which it’s more helpful and useful for us to remember the knowledge in the book. And by applying our knowledge to the real problem in reality, it’s more helpful for us truly understand the essence of translation studies. <br /> <br /> Secondly, there are a large number of charts are cited, and the names of the charts are listed on a special page after the table of contents at the front of the book for easy reference. In this way, it is easier for readers to absorb much information contained in the charts. In the meantime, it is clear for the readers to relate the knowledge with the information in the charts. It is also a good way to sort out the large number of information in an ordered way for the readers to have a quick way to absorb the information. <br /> <br /> Thirdly, the book includes an appendix to the web sites relevant to translation studies before the final notes and index. These include two web sites that publish information about conferences, recent publications and research, six web sites for international translation journals and four web sites for translation organizations that often contain useful links. In this way, it becomes much easier for the readers to search the information on the websites for further reading and studying.<br /> <br /> Now, let’s move on to talk about the content of this book. In the second chapter, this book lists the debate about the word-for-word and sense-for-sense translation which is debate that dominated much of translation theory. “Faithful translation” is an attempt to reach a compromise between the two. Many great translators object to word-for-word translation and they advocate the sense-for-sense translation”(Munday 2013:18). For example, Cicero oppose the word-for-word translation strongly by saying “that I did not hold it necessary to render word for word, but I preserved the general style and force of the language”(Munday 2013:19). “The issues of free and literal translation were for over a thousand years with the translation of the Bible and other religious and philosophical texts”(Munday 2013:22). As for the translation of Bible, there must mention the Martin Luther whose major influence is made by his translation of the ''New Testament'' and later the ''Old Testament''. Martin Luther advocates the revolutionary nature of translation. “At that time, the Bible was only available in Europe in a Latin translation. This meant that the majority of the people had no access to the Bible in their native languages”(Stolt 2014:373). He is concerned with the German readers. “Here, he supports the idea of using of “pure, clear German and the building of new languages in translation. Therefore, he used a non-literal translation in his translation of Bible”(Stolt 2014:373). Also, his use of a regional yet socially broad dialect went a long way to reinforcing that form of the German language as standard. “His aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German”(Stolt 2014:374). And thanks to Martin Luther’s efforts of translating Bible, the Germany people now could read Bible freely. Later, the book talks about the translation principle of Dryden, Dolet and Tytler. Here it will put emphasize on the Tytler’s translation principles. As for Dolet has five translation principles while Tytler proposes his three translation rules. “They are the translation should give a complete transcript of the ideas of the original work. Secondly, the style and manner of writing should be of the same character with that of the original. Thirdly, the translation should have all the ease of the original composition.” (Munday 2013:26) Here, we can see that Tytler pursues the balance between the source language and target language. The translator must have the capacity of employing the exact manner and skill in translating his target language. For example, “there are two sentences which express the same meaning but they are different in their writing style”(Xi 2009:41). One is on Monday morning, the park is usually crowded with too many people. The other is on Monday morning, the park attracts many people. It’s obvious that the first sentence is in a negative mood while the second sentence is in a positive mood. These two sentences all convey the same meaning but they differs each other in the mood and style. To be a good translator, you need to be skillful in bringing the same style of the source language to the target language. <br /> <br /> The advantages of his translation principle are as follows. First of all, “he abandons the traditional translation idea of dichotomies and he tries not to use these controversial term such as literal translation, free translation to give his translation rules a better and clear way to present”(Bie and Huang 2007:164). Here, in his translation principles, we cannot see the mentioning of the literal translation and free translation which can cause misunderstanding in the translation studies. Secondly, “he clarifies and extends people’s understanding of the metaphor that translators are painters. In his opinion, he advocates that the job of a translator is distinct different from the painter” (Bie and Huang 2007: 166). Although the translator does not use the same color as the original, he must give his &quot;picture&quot; the same power and effect. The translator cannot copy the original style, but must use his own style to translate the perfect script. The more he studies a imitation, the less his copy will reflect the ease and spirit of the original. <br /> <br /> Now, let’s move on to talk about the disadvantages of his translation principles. Tytler’s translation thoughts are mainly on the base of his exact experience and subjective observation. “Some people even say that the book just looks like a textbook addressing the translation arts. In the meantime, from his translation theories, we can know that he imitates other translator’s theory, especially Dryden”(Firdaus 2012:285). For example, his first principle “That the translation should give a complete transcript of the ideas of the original work, which is almost same as the Campbell’s accurately reproduce the original meaning”(Firdaus 2012:286). Tytler, “points out that the three principles are in a necessary order. The order arrangement is appropriate, natural and is arranged according to their importance to the translation which cannot change casually”(Firdaus 2012:287). In this way, we can concluded that his idea that if in a case of need to sacrifice a certain principle, the translator should notice the importance of order of translation principle. The translator cannot try to get a beautiful and fluent translation at the expense of the faithful translation of the script. Tytler’s translation has exerted great influence on the later translation studies and left a big influence on the later translators such as our Chinese great translator-Yan Fu. Here, it will list the Yan Fu’s translation theories and then we can have a brief comparison between Yan Fu’s translation principles and Tytler’s translation principles. “Yan Fu is our Chinese great scholar and translator, most famous for introducing western ideas, including Darwin’s natural selection to China in the late 19th century”(Wang 2008:70). Just as Shi Chunrang and Zhao Wei proposed their opinions in their essay ''Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation'' that Yan Fu proposed three difficulties in translation: faithfulness, expressiveness and elegance in the preface to his translation of ''Evolution and Ethnic''.<br /> <br /> “Faithfulness” means the full and complete conveying or transmission of the original content or thought. It emphasizes the right way of expressing content of the original source. “Expressiveness” demands that the version must be clear and follow without any grammatical mistakes or confused logic and sense. The translation should convey freely the content of the original source. “Elegance” means that the target translation should be similar to the source text in style(2005:96).<br /> <br /> It means that the mood of the target translation should be almost same as the source language. By analyzing carefully, it’s clear to find there are many things in common between these two translation theories. <br /> <br /> Firstly, “the first principle and second principle of Tytler are the same as the saying that translation should be faithful to the source language’s content and mood which is similar to the first principle of Yan Fu that emphasizes on the full and complete conveying of the original content”(Shi and Zhao 2005:97). Secondly, these two translation theories all focus on stressing the conveying the thought and content of the source language. And the translation should be available for people to read. “These two theories all emphasize on the conveying the complete transcript of the source text”(Shi and Zhao 2005:98). <br /> <br /> It’s clear to see many differences between these two translation theories. Firstly, “they are different in thinking mode. Yan Fu does not make a clear and detailed explanation of his translation theory. Instead it relies on others’ explanation of his translation theory”(Xi 2009:41). Just as a saying, “Everything is clear without saying a word”. To better understand Yan Fu’s translation theory, we need to have the associated “relation and reflection about the great thought of our great ancestors. As we all know, “traditional Chinese mode of thinking is perceptual which tends to make the theory obscure and received. However, westerners attach great importance to rational thinking which makes the theory more concrete”(Shi and Zhao 2005:98). The thinking mode of western is putting emphasize on the rational thinking and it emphasizes one’s rational understanding of the objects and people. Also, “it concentrates on the formal explanation of the objects and people”(Shi and Zhao 2005:98). Therefore, the Tytler’s three translation principles all give respect to the object to the original text. And it repeatedly emphasizes on the importance of the original text and treat the original text as it start point. Apart from that, it also gives the literal explanation in a detailed way. In this way, after analyzing the different thinking between the western and eastern, we can say that Yan Fu do not give a literal explanation of his translation principle. Thus, we can say that his translation principle understands tacitly. <br /> <br /> Secondly,“they are distinctly different in the importance. Since the three principles of faithfulness, expressiveness and elegance are presented, the importance of them has not been clearly classified”(Shi and Zhao 2005:99). One of the most important features of Yan Fu’s translation standard is its ambiguous semantic meaning. But in fact, “Yan Fu put emphasizes on the free translation and he proposed the principle of expressiveness to support the principle of faithfulness”(Xi 2009:41). “Since during the process of translation, except adhering to the expressiveness of the original text, the principle of faithfulness is the most difficult task to finish as to the conveying the original text’s mode and style”(Xi 2009:42). Therefore, we can draw a conclusion that principle of expressiveness is vital in his three principles and then is the expressiveness and the last is elegance. We should stick to the general principle of “original meaning”, only then can we have a reasonable logic to give an order on the importance of “faithfulness, expressiveness and elegance”. “While Tytler thinks the order of his three principles is suitable, natural and could not be changed”(Wang 2008:71). Tytler proposes that we can make the conveying the faithful translation of the content at the expense to pursue the beautiful and fluent translation of the original text. “If we must give up one of principles he proposes, he advises that we can give up the least important principle namely the third principle”(Wang 2008:71). In other words, it is the first sacrifice of the original “style and effectiveness”. What's more, the style and mood of the original painting must be conveyed in order to convey a faithful picture of the sense. <br /> <br /> Thirdly, “these two translation theories are different in the aspect of value orientation. The reason of this difference is due to the difference in the academic tradition of the emphasizing on the practice and theory level of the east and west”(Wang 2008:73). As is known to all, traditional Chinese translation paid more attention to practice rather than theory. The idea of translation should guide translation practice and should be of reference value. Yan Fu's “faithfulness, expressiveness and elegance” was originally used to describe the difficulty of translation, not as a translation standard. He summed it up from his own practice and was concerned with practice rather than theory. However, western translator put practice and theory at the same level. Tytler's three principles are three levels of difficulties in detail, from the content loyal to distinct style. The reflected logical form is clear and obvious, which is significantly different from the implicit three translation principles of “faithfulness, expressiveness and elegance”. “Western translation theories focus on detailed analysis, rational abstraction and theoretical deduction, and pay attention to logical organization, hierarchy and clarity of content in language expression”(Wang 2008:73). Influenced by traditional philosophy, western translation theories have a strong sense of subject and object throughout the whole process. Taking “expressiveness” as an example, Yan Fu's “expressiveness” and Tytler's third principle “translation should have all the ease of the original composition” have roughly the same meaning, but it’s obvious that they are different in thinking mode. “The Chinese adopt a thought pattern of intuition and understanding while the Englishmen follow a thought pattern of logic and reason, which makes a profound impact on each language”(Chen 2012:126). To this extent, the difference between understanding and rational thinking, as well as the degree of respect for the original text can be best reflected. At last, “these two translation theories are distinct in their motivation. Yan Fu’s criterion is purposeful which aims to attract the elite’s attention”(Wang 2008:73). The literature works that Yan Fu translated from the western world are mainly the great and famous work in the period of western capitalism. “He fully understand this mode of thinking is difficult for the Chinese intellectuals at that time so in this way, he need to make the translation principles easier for the Chinese intellectuals to absorb”(Chen 2012:127). In this regard, he chose this way of spreading his translation ideas which makes his translation principles purposeful. While Tylter just wants to make the whole translation system more systematic and cover content, form and text these three aspects. “His aim in his translation principle is simply trying to make his translation principle known by people and suggest a reasonable translation principle for translators to follow”(Xi 2009:42). <br /> <br /> <br /> '''III Comparison between the book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> '''1.From the aspect of arrangement of the content'''<br /> <br /> Both of these two books all take the line of main translation workshops as its main chapter and then list its contribution to illustrate the content. “In the ''contemporary translation studies'', the author compare the translation group’s advantages and weakness and then give out his own understanding of the study of the translation group” (Li :2014 111).” In the ''Introducing Translation Studies: Theories and Applications'' , the author lists the introduction of each translation workshop’s contribution and achievement to translation” (Liu and Deng 2010:54). While these two books’ difference in arrangement is that in the book ''Introducing Translation Studies: Theories and Applications'' adds a case study to extend the readers’ inflection about the translation study listed in the book. Apart from that, this book also adds the discussion of case study, summary, further reading and discussion and research points into the book which are lack in the ''Contemporary Translation Studies''. These added parts to the book ''Introducing Translation Studies: Theories and Applications'' helps extend the readers’ personal study and help the readers relate the theoretical knowledge with the translation practices. <br /> <br /> '''2.From the content of the material'''<br /> <br /> Both of the books all list the major contribution of each translation workshop but they differ in their focus and approach. In the ''contemporary Translation Theories'', the author will “analyze the advantage and weakness of the each translation workshop and then study the interrelationship between these translation workshops and at last describe the importance of each translation theory to the world and then pose its questions to the presupposition of each translation theory”(Li 2014:111). While in the ''Introducing Translation Studies: Theories and Applications'', the author firstly gives a brief introduction of the chapter content and then illustrates the introduction of each translation workshop in a detailed way. To make the book in a more precise way, the author also lists the summary, case study, discussion of study, further reading and discussion and research points in his book to make the readers to have a more comprehensive way of the book. <br /> <br /> Apart from that, these two books all take a method of incorporating the theories and practices into the whole. In these two books, each book all include the material of theories and practices as its contents. For some important parts, the authors all give out their questions in the book. For example, in the ''Contemporary Translation Theories'', the author poses his question about Pound’s translation idea“ Was he talking about intuition, guessing the author’s original intention, or something else?(Gentzler 2001:20) After this question, the author gives out his opinions about Pound’s translation idea emphasizing the translator should both inside a tradition and outside any institutionalized logic. While this point of asking question in the ''Introducing Translation Studies: Theories and Applications'' is more obvious. At the end of each chapter, the author will give several questions in his part of discussion and research points. Some of these questions can find the answers in the textbook while some will require the readers to do some additional researches. <br /> <br /> '''Conclusion:'''<br /> <br /> All in all, after this paper’s careful introduction of these two books and detailed analyzing of the translation theories, it hopes to help the readers to have better understanding of these two books. After the deep analysis of the two theories of Nida’s translation theories and the comparison between Tytler’s three translation principles and Yan Fu’s translation rules, it’s better for the readers to understand the basic rule of translation. And also after analyzing the two big translation theories, it’s clear to draw a conclusion that to be able to be a good translator, the translator should not only be skillful in adapting to two kinds of different language and also he needs to have the solid translation practice experiences. He needs to have the complete transcript of the original text by conveying the content of the original text, but also he should imitate the style and mood of the original text. <br /> <br /> <br /> <br /> <br /> <br /> <br /> '''Works Cited'''<br /> <br /> Gentzler, Edwin. Contemporary Translation Theories. Vol. 21. Multilingual Matters, 2001.<br /> <br /> Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge, 2013.<br /> <br /> Li Jiangchun. “The comment of the second edition of the Contemporary translation theories.” Foreign Language Education. 35.1(Jan. 2014): 111-114. CNKI. Web. 1 Nov. 2019<br /> <br /> Xu Dongping and Wang Dongfeng. “Giving comment about the Edwin’s Contemporary Translation theories.” Foreign Language and Their teaching.12(2000):42-44. CNKI. Web. 1 Nov. 2019 <br /> <br /> Nida, Eugene A. “Dynamic equivalence in translating.” An Encyclopaedia of Translation: Chinese-English English-Chinese [C/Z]. Hong Kong: The Chinese University Press (1995): 223-30.<br /> <br /> Shakernia, Shabnam. “Study of Nida’s (formal and dynamic equivalence) and Newmark’s (semantic and communicative translation) translating theories on two short stories.” Merit Research Journal of Education and Review 2.1 (2013): 001-007.<br /> <br /> Liu Dayan. “Dynamic equivalence and formal correspondence in translation between Chinese and English.” International Journal of Humanities and Social Science 2.12 (2012): 242-247.<br /> <br /> Panou, Despoina. “Equivalence in translation theories: A critical evaluation.” Theory and Practice in Language Studies 3.1 (2013): 1.<br /> <br /> Miao, Ju. “The limitations of ‘equivalent effect.” Perspectives: Studies in Translatology 8.3 (2000): 197-205. CNKI. Web. 3 Nov. 2019<br /> <br /> Zhou Wenmei. “Interpreting the linguistic idea in Chomsky’s generative-transformational grammar construction.”Yinshan Academic Journal. 32.3(Jun 2019):5-10. CNKI. Web. 4 Nov. 2019<br /> <br /> Zhu Enlue. “A brief analysis of Chomsky’s generative-transformational grammar.” Overseas English. (2018):241-242. CNKI. Web. 5 Nov. 2019<br /> <br /> Li Zhiwang. “An analysis of Chomsky’s generative transformational grammar and Nida’s ideas about translation.” Journal of Inner Mongolia Agricultural University. 3(2011):394-396. CNKI. Web. 5 Nov. 2019<br /> <br /> Liu Fang and Deng Jie. “The comment of the new edition of Introducing translation studies: Theories and applications.” Contemporary Foreign Languages Studies. 4.(Apr 2010):54-58. CNKI. Web. 6 Nov. 2019<br /> <br /> Stolt Birgit “Luther’s Translation of the Bible.” Lutheran Quarterly 28.4 (2014): 373-74.<br /> <br /> Shi Chunrang, Zhao Wei. “Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation.” Foreign Language Research 5 (2005):96-100. CNKI. Web. 5 Nov. 2019<br /> <br /> Xi Yan. “ Faithfulness-Expressiveness-Elegance, Tytler's three principles and Dynamic Equivalence——New Analyses on the Differences and Similarities of the Standard of Translation and the Causes.” Journal of Cangzhou Teachers' College 3 (2009): 40-42. CNKI. Web. 8 Nov. 2019<br /> Bie Fangfang, and Huang Qin. “Dolet’s Translation Principles and Tytler’s Translation Principles: A Comparison.” Foreign Language Education 2007.0 (2007): 30. CNKI. Web. 9 Nov. 2019<br /> <br /> Firdaus, Sonia. “Evolution of translation theories and practice.” The Dialogue (2012):272-294<br /> <br /> Wang Chenjie. “A Systematic Comparison between Yan Fu's Theory of Faithfulness, Fluency, and Expressiveness and Tytler's Three General Rules of Translation.” Journal of Ningbo Institute of Education 1 (2008):70-73. CNKI. Web. 10 Nov. 2019<br /> <br /> Chen Wen,. “On Yan Fu and the Influence of the “Faithfulness, Expressiveness and Elegance.” Journal of Chongqing University of Arts and Sciences (Social Sciences Edition) 6 (2012): 125-129. CNKI. Web. 11 Nov. 2019<br /> <br /> ='''The Emergence of Translation and Interpretation'''=<br /> <br /> <br /> <br /> ==The Influence of Eugene Nida’s Translation Theory on Chinese Translation Development==<br /> &lt;center&gt;蒋凤仪 Jiang Fengyi&lt;/center&gt;<br /> <br /> '''Abstract'''<br /> <br /> '''Key words'''<br /> <br /> '''摘要'''<br /> 奈达作为一位翻译史上的重要人物，对于世界翻译进程影响重大。本文拟从其翻译思想在中国翻译界的接受和传播程度，及其翻译思想对中国翻译学者的影响，探究其翻译理论对中国翻译发展进程的影响。<br /> <br /> '''关键词'''<br /> 奈达, ...<br /> <br /> ===Introduction===<br /> <br /> 1.Eugene Nida and His Translation theories<br /> <br /> 2.The Translation Theories of Eugene Nida in China<br /> <br /> 2.1 Studies on Nida in China<br /> <br /> 2.1.1 Numbers of Papers, Books and Seminars on the Translation of Nida<br /> <br /> 2.1.2 Focuses of the Studies on Nida's Translation Theories<br /> <br /> 2.2 The influence of Nida's translation Theories on Chinese Theorists<br /> <br /> 2.2.1 The attitudes Towards Nida's Translation Theories in China<br /> <br /> 2.2.2 The Transformations of Theorists in China <br /> <br /> 3. The influence of Nida's translation Theories on Chinese Translation development<br /> <br /> 3.1 The positive influences<br /> <br /> 3.2 The problems<br /> <br /> ===Conclusion===<br /> <br /> ===Acknowledgements===<br /> <br /> ===References===<br /> <br /> ==An analysis of main factors influencing the choice of translation strategies, the example of Hongloumeng 解帆 Xie Fan==<br /> <br /> ==A Study on the History of Interpretation and the Prospect of Interpretation in China 雷旷溪 Lei Kuangxi==<br /> <br /> ===Abstract===<br /> This paper combed the 40 years of reform and opening-up in China the development course of interpreting research, introduces its experienced four stages: in the late 1970 s to 80 s &quot;bud&quot;, &quot;initial development&quot; of the 1990 s, the first decade of the 21st century &quot;new period&quot;, the second decade of the 21st century in the &quot;&quot; development&quot;. Finally, the author makes a review and analysis of the achievements and main performances of Chinese interpretation studies and comments on the current development status and future prospects of Chinese interpretation studies.<br /> <br /> ===Key Words===<br /> Interpretation, historical development, interpretation studies, development trends<br /> <br /> ===摘要=== <br /> 本文简要梳理改革开放40年来中国口译研究的发展历程，介绍其所经历的四个阶段：20世纪70年代末到80年代末的“萌芽期”、20世纪90年代的“初步发展期”、21世纪头十年的“新兴期”、21世纪第二个十年进行中的“多元发展期”。并回顾分析中国口译研究的成就和主要表现，最后就目前中国口译研究的发展现状和未来展望进行评析。<br /> <br /> ===关键词===<br /> 口译，历史发展，口译研究，发展趋势<br /> <br /> ===1.Introduction===<br /> <br /> <br /> ===2.The development and overview of The study of Interpretation in China===<br /> <br /> 2.1 The four development stages of Chinese interpretation research<br /> <br /> 2.1.1<br /> <br /> 2.1.2<br /> <br /> 2.1.3<br /> <br /> 2.1.4<br /> <br /> 2.2 Representative achievements in The study of Interpretation in China<br /> <br /> ===3.Current situation of domestic interpretation research===<br /> <br /> ===4.The development trend, characteristics and prospect of Chinese interpretation research===<br /> <br /> ===5.Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Reflections on the Development of Chinese Cultural Self-confidence in Translation from the Perspective of Chinese Translation History 郑华君 Zheng Huajun==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Four translation climaxes in Chinese translation History'''===<br /> <br /> ==='''The expression and development of Chinese cultural self-confidence in the four translation climaxes'''===<br /> <br /> ==='''The characteristics of Chinese cultural self-confidence in Chinese translation History'''===<br /> <br /> ==='''Discussion'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ===References===<br /> <br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:23, 30 October 2020 (UTC)<br /> <br /> ='''Western Translation Theories'''=<br /> <br /> <br /> ==An Analysis of the Limits of Translatability from the Perspectives of J.C. Catford and Eugene A. Nida's Translation Theories 文晓艺 Wen Xiaoyi==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 陶冶 Tao Ye==<br /> <br /> ==On Lefevere's manipulating theory 孔亚楠 Kong Yanan==<br /> ===Abstract===<br /> In 1980s, the research object of translation studies changed from text itself to culture. Cultural factors were brought into translation studies. Andre Lefevere, as the founder of cultural transformation, puts forward the famous manipulation theory and its three elements-poetics, ideology and patron. He believes that translation is not a simple change between languages, and translators' translation activities are influenced and restricted by social factors such as ideology, poetics and patronage. He points out that translation is a form of rewriting the text, and it is &quot;manipulating&quot; the original text to make it compatible with the cultural background of the target text. The main body of the thesis is divided into three parts, which explore the rewriting phenomenon caused by poetics, ideology and sponsors in translation activities by displaying different versions.<br /> <br /> ===摘要===<br /> <br /> 20世纪80年代，翻译研究的研究对象从文本本身转向文化，将文化因素纳入翻译研究之中。安德烈勒弗菲尔作为文化转换的奠基人提出了著名的操纵理论及其三要素—诗学、意识形态和赞助人。他认为翻译不是一件简单的语言间的转换，译者的翻译活动受到意识形态、诗学和赞助人等社会因素的影响和制约。他指出翻译是改写文本的一种形式，是对原文的“操纵”，使其与目的语文本所在的文化背景相容。论文主体主要分为三部分，分别通过展示不同的译本，探究诗学、意识形态和赞助人在翻译活动中造成的改写现象。<br /> <br /> '''关键词:'''Poetics; Ideology; Patronage; Manipulate<br /> <br /> ===Introduction===<br /> <br /> Before the 20th century, western translation theories mainly fell into the category of literature and art, which regarded translation as an art and emphasized the translator's creative reproduction of the original text. Until the mid-20th century, translation theorists introduced the theories and achievements of modern linguistics into translation studies, thus producing a linguistic school.Linguistic school regarded translation as a science of mutual transformation at the linguistic level, emphasizing the language equivalence between the original text and the target text. Compared with the literary school, the linguistic school has deepened translation studies and achieved fruitful results, which was beyond doubt. However, it only limited translation studies to the linguistic level, ignoring external linguistic factors such as discourse and context, which led to the fossilization of translation studies.Since the 1980s, under the influence of post-modernism and cross-cultural studies, translation studies have ushered in a &quot;cultural turn&quot;, which has gradually transformed translation studies from a linguistic perspective to a cultural perspective, and thus a cultural school of translation has emerged. The cultural school broke through the traditional text comparative study mode of literature and linguistics, and paid attention to many social factors that influenced translation under the broad cultural background, thus broadening the scope of translation studies and injecting new blood into translation studies. Manipulation school was one of the most influential schools of culture.<br /> The development of Manipulation School was based on comparative literature research, which mainly studied literary translation. The representative figures were Hermans and Lefevere. In 1978, Even Zohar put forward the theory of multiple systems which idicated that there was no primary or secondary system, but the importance was different at different stages and from different angles. Sometimes literature was in a dominant position, and sometimes it was in a secondary position.On this basis, the manipulation theory in the school of translation culture studies was formed. Hermans, a contemporary English translation theorist, published a paper entitled &quot;The Position of Translation Studies in the Multi-system of Literature&quot;, which highlighted the position of target literature, and shifted from focusing on the original text to focusing on the target text. He first applied &quot;manipulation&quot; to the study of translation theory, forming the embryonic stage of the manipulation school.In the book &quot;Manipulation of Literature: Studies of Literary Translation&quot;, Hermans gave the programmatic view of Manipulation School: Manipulation School thinks that literature is a complex dynamic system; Theoretical models and practical case studies should promote each other. The method of studying literary translation should be descriptive and systematic, and should pay attention to purpose and function; We should study the norms and limitations of the production and acceptance of translation, the relationship between translation and other text processing, the position and role of translation in a particular literary system, and the status and function in the interaction between different literatures. As Hermans said: &quot;From the perspective of the target text, all translations are manipulations of the original text for some purpose.&quot; (Hermans, 1985, 10-11)<br /> Andre Lefevere, a famous Belgian American comparative writer and translation theorist, pointed out that literary translation always came into being in a certain historical period and a certain cultural context. Because of using a different language from the original, facing a completely different readership and operating in different cultural categories, the translator, as the representative of the target culture, would be restricted by various target cultural conditions from the choice of the translation text at the beginning to the selection of translation strategies in the translation process until the acceptance of the final version. Moreover, the translator would have various considerations in translation. Therefore, it was impossible to reproduce the exactly identical translation of the original text. In this sense, translation was a rewriting of the original text and a form of creating the text. Lefevere further pointed out that literary criticism, biography, literary history, film, drama, reader's guide and so on were all rewriting the text and creating another form of text image. In other words, translation created the original author, the original text and the literary and cultural images of the original text. All rewritings, regardless of its intention, reflected certain ideology and poetics under the influence of the patronage. He thought that translation was rewriting, and rewriting was manipulation. The rewriting in different historical periods should be controlled by the ideology and main stream poetics, which was finally related to power and became a means to serve them. He believed that translation cannot truly reflect the original appearance, which was mainly manipulated by these three factors: ideology, poetics and patronage.<br /> <br /> ===Three Elements of Lefevere's manipulation Theory===<br /> <br /> <br /> '''Ideology'''<br /> <br /> Generally speaking, ideology refers to the concept system that reflects the interests and requirements of specific economic forms, specific classes or social groups, and its basic contents include people's political, legal, moral, philosophical, artistic and religious views, etc. Social ideology reflects a social group's cultural value orientation and conceptual belief system. Through observing its surroundings and its own existence, social, ideology can influence and control the activities of the whole society. In Lefevere's view, translation practice is a practice related to certain historical reality, a practice of reinterpreting the original text according to the interests of a certain social group in the new historical environment, and it is essentially a practice of culture and politics. (Fang Mengzhi, ) Manipulation school is most concerned about not how the translation should be translated, but why it is translated like this. Translations are not made in a vacuum. Translators function in a given culture at a given time. The way they understand themselves and their culture is one of the factors that may influence the way in which they translate. (14) Translation, as a cross-language and cross-cultural communication activity, is inevitably influenced by ideology. It includes the translator's personal ideology and the ideology imposed on the translator by the authority or sponsor. These personal, social or upper-level ideologies will limit the selection of the theme of translated works and the form of expressing the theme and affect the translator's basic translation strategies and the interpretation of the original language and culture. Therefore, under the control of ideology, the translator will arbitrarily add, delete or change the original text, so that the translated text serves his own political purpose. (Zhang Xiaojuan, 130)<br /> <br /> '''Poetics'''<br /> <br /> Poetics involves two parts: literary technique and translator's view of literary function. Literary technique mainly includes genre, symbol, theme, etc. Translator's view of literary function refers to the role or function of literature in the whole social system. Translators not infrequently use their translations to influence the evolution of the poetics of their time. The compromises translators find between the poetics of the original and the poetics of their culture provide fascinating insights into the process of acculturation and incontrovertible evidence of the extent of the power of a given poetics. (26)<br /> According to Lefevere, the translation method adopted by translators is carried out and developed under a certain system of factors of poetics, and the object of the study of poetics is as small as one word or as large as one sentence and the style of the whole chapter, translation strategies and other aspects of the rewriting of the poetics, which are the important components of the cultural system where the rewriting writers are engaged in their creation. In order to conform to the ideology and poetics which occupied the dominant position in the period where they live and to achieve the goal of making the rewritten works accepted by as many readers as possible, the original works will be adjusted in a fixed degree. (Zhang Xiaojuan, 131)<br /> <br /> '''Patronage'''<br /> <br /> Generally speaking, sponsors refer to individuals and groups that can promote or hinder the production and dissemination of literary works in a certain historical period, and institutions that regulate the dissemination of literature and literary thoughts. Patrons can encourage the publication of translations they consider acceptable and they can also quite effectively prevent the publication of translations they do not consider so. (19) Lefevere regarded various rewriting forms, such as literary translation, as one of the various systems of the society. This department of philology has double factors of operation and control. One is the internal factor of the department of philology, which is composed of various professionals including critics, critics, teachers and translators The other is the patron who plays a role in the external department of the department, &quot;The patron is usually more interested in the ideology of literature than in poetics of literature&quot;, &quot;that are all kinds of powers (people or mechanisms) that promote or stop reading, writing or rewriting , such as religious groups, orders, government departments, publishing agencies, mass media mechanisms, or individual power. (Zhang Yuanyuan)<br /> Sponsors can encourage works that they think are suitable, and can also effectively curb works that they think are inappropriate. Generally speaking, they play a vital role in the dynamic direction of translation, the development of translated literature, and the social meeting place where translators are located. (Zhang Xiaojuan, 131)<br /> <br /> ===Analysis of translations===<br /> <br /> 1:In the dialogue between Wang Lifa and Cui Jiufeng in the second act of Teahouse, Wang Lifa said, &quot;可是住在我这里, 天天念经&quot; Cui Jiufeng replied, &quot;我现在只能修持, 忏悔!&quot; As for &quot;念经&quot; in the sentence, Ying Ruocheng's translation of &quot;chanting Buddhist scriptures&quot; is rich in Christian color; Huo Hua's translation &quot;chanting sutras&quot; abandons the meaning of Buddhism. From this, it can be seen that in order to meet the requirements of mainstream ideology, translators will choose corresponding translation strategies and delete or euphemistically treat some of the original texts in the process of translation. From the perspective of manipulation theory, this is the manipulation of ideology on translation.<br /> There is such a scene in the third act of Teahouse. “美国针、美国线、美国牙膏、美国消炎片。还有口红、雪花膏、玻璃袜子细毛线。”<br /> Ying’s translation: Yankee needles, Yankee thread; Toothpaste white and lipstick red. Patent potions, facial lotions; Nylons sheer, you’ll find here.<br /> Huo’s translation: Yankee needles, Yankee notions, Yankee toothpaste, Yankee potions. Lipsticks red, and cold cream white; Nylon stockings, sheer delight.<br /> By comparing these two translations, in order to better conform to the rhythm of English poetry and make the whole ditty read fluently, Ying Ruocheng splits the structural meaning of the original text and then reorganizes it. He adopts more alienation translation strategies in order to achieve the same rhythm as the original text. On the other hand, because of his love for Chinese culture and the influence of Chinese traditional literature, Huo Hua is more faithful to the original text in his translation, and translates the whole ditty in the order of the original text. From this, it can be seen that Huo Hua's translation is mostly based on domestication, so as to truly reproduce the cultural level in the source text.<br /> In the first act of Teahouse, Grandpa Four often complained to Wang Lifa, &quot;我也得罪了他?我今天出门没挑好日子! &quot; In this sentence, Ying Ruocheng translates &quot;没挑好日子&quot; into &quot;This is not my lucky day!&quot; The big reason is that his translation publishing house is China Foreign Publishing House, and Ying is more suitable for the traditions and habits of foreign readers, so as to facilitate the acceptance of foreign readers; On the other hand, Huo Hua translates it as &quot;I should've taken the Almanac's advice and stayed home today.&quot; Based on his understanding of Chinese traditional culture, Huo Hua knows that this is what Chinese people usually say orally that going out depends on the lunar calendar, so he translated it as &quot;Take the Almanac's advice and stayed home&quot;, which is more faithful to the connotation of Chinese traditional culture. (Huang Mingjuan, 144-145)<br /> 2:Facing globalization, the great rejuvenation of the Chinese nation must be strongly supported by the prosperity of culture. Under the background of vigorously advocating the use of literature output to improve the soft power of Chinese culture, we should treat the translation of Chinese literature more rationally. China has been a collectivist country since ancient times and advocated unity and unity. For families, there is a saying that &quot;home is harmonious and everything is prosperous&quot;; For the neighborhood, there is the advocacy of &quot;good neighborliness and friendship&quot;. Therefore, when translating the report of the 19th National Congress into English, it is inevitable to be influenced by the feelings of home and country, which can be seen everywhere in the text.例1：原文：大会的主题是：不忘初心，牢记使命…… 译文：The theme of the Congress is: Remain true to our original aspiration and keep our mission firmly in mind... Analysis: There is no human appellation like &quot;we&quot; in the original text of the sentence, but it appears in the translation that “our original aspiration” and “our mission”. Thus, its text translation is manipulated by our country's ideology, which is intended to show the collectivism consciousness of the Chinese nation and show that all ethnic groups in our country are united and love each other dearly. <br /> The opening report of the 19 th National Congress contains a large number of words with Chinese characteristics, and its English translation is manipulated by the socialist culture with Chinese characteristics. For example：Translate“不忘初心，方得始终”into “Never forget why you started, and you can accomplish your mission” “行百里者半九十”into “As the Chinese saying goes, the last leg of a journey just marks the halfway point”. English translation of such words with Chinese characteristics must be carried out on the basis of fully understanding the connotation of Chinese culture, which also well reflects the translator's own literary accomplishment and mastery of poetic ability.<br /> The report in the opening ceremony of the 19th National Congress belongs to the official documents of the party and government organs, and its sponsors are obviously the Communist Party of China and its leaders. Therefore, the report represents the will of the party and the people, in which every word, phrase and sentence collocation must be carefully screened before being finalized and must conform to the will of the country and represent the interests of the party and the people. This also requires translators to keep a clear head and high political acumen at all times, and to represent and safeguard the national image at all times. (Jia Shanshan, 169)<br /> 3;Throughout Chongqing's literary translation activities during the Anti-Japanese War, the influence of ideological manipulation is everywhere. The translated works in this period fully reflect the high unity of mainstream ideology and individual ideology. Personal translation behavior serves the ideological needs of mainstream society, thus promoting the development of translation career. In Chongqing from 1937 to 1945, the Anti-Japanese War became the main theme, the national significance was constantly awakened, and the desire for national independence was extremely strong. People from all walks of life in society fight in various ways, and the literary world is engaged in a spiritual and cultural war of resistance with its unique and appealing style. Therefore, most of the translation subjects in this period are anti-war works.<br /> Mainstream poetics and ideology are often inseparable. Under the influence of the mainstream ideology of the Anti-Japanese War, realistic literary creation and translation become the mainstream poetics. During this period, Chongqing's translation activities show that literature and art should serve reality. Whether it is genre, theme, language or ideological content, it can quickly stimulate readers' anti-war enthusiasm and resonance. In this period, the theme of translated poetry is full of realistic feelings, and the translated language is simple, free in form, catchy, emotional and easy to tell. From theme to target language, mainstream poetics of target language is fully considered. The original texts are often deleted, combined with Chinese native characteristics and literary factors, and naturalized in China, all of which reflect the mainstream poetics.<br /> During the Anti-Japanese War in Chongqing, the sponsors of translation activities are mainly social organizations, newspapers, periodicals, literary intellectuals and so on. These sponsors make full use of their social appeal to organize and encourage Chongqing's literary translation activities. It can be said that these &quot;sponsors&quot; have a great influence on Chongqing's literary translation activities during the Anti-Japanese War, especially in promoting the exchange of Chinese and foreign anti-Japanese literature works, and achieve remarkable results. In this period, the sponsors of translation are united as never before, actively guiding the translation and introduction of anti-war literature works, providing a publishing platform for translated works, guiding the trend of public opinion, and fully integrating the mainstream ideology into translation practice. For example, Xinhua Daily, Sino-Soviet Culture and other newspapers and media as well as anti-Japanese literature and art circles have translated and introduced many famous Russian and Soviet writers and literary works. Some American literary groups and journalists have set up a series of publications, such as China Monthly and Far Eastern People, which translate and introduce anti-Japanese literature works of Mao Dun, Lao She, Yao Xueyin, Ai Qing and others to the United States, showing the influence of sponsors on translation activities. (Yu Jinyan, 98)<br /> 4:As an important media of cultural communication, American TV drama not only has an eye-catching story, but also contains a lot of foreign cultural factors, such as authentic American slang and spoken language, strange historical allusions, and novel network neologisms. As a bridge between Chinese and American cultures, subtitle translation of American TV drama is particularly important. First of all, when the social values of the translation and the source text conflict, ideology will manipulate the translator to rewrite the sensitive parts of the text to meet the social ideology requirements of the target language. In addition, American TV series contains a lot of local cultural factors, which is difficult to find the corresponding symbols in the process of translation and introduction, so the rewriting of culture in subtitles is inevitable. Example 1: English version: Hewlett and Packard<br /> Chinese version: 休利特和帕卡德<br /> (比尔·休利特和戴维·帕卡德是惠普(HP)公司创始人，两者均为男性。)<br /> -Quoted from the Big Bang Theory<br /> Many Chinese audiences are familiar with HP brand, but know little about its founders. Therefore, in addition to translating the names of the two founders literally at the bottom of the screen, the subtitle group members also added their identities and remarks &quot;Both are male&quot; at the top of the screen. This not only preserves the characteristics of the source language culture, but also helps the audience enjoy the movie-watching activities smoothly, and also increases the comedy sense of the play<br /> From the perspective of mainstream poetics, Chinese and Western translation circles tend to combine &quot;domestication&quot; with &quot;foreignization&quot; in translation practice, which can not only solve the differences between Chinese and Western cultures, but also reproduce the characteristics of the source culture in the target language as much as possible.<br /> Example 2: English version: Look at that, the problem solved itself.<br /> Chinese version: 你瞧!不攻自破了。 <br /> English version: Preparation can only take you so far.<br /> Chinese version: 谋事在人，成事在天。<br /> -Quoted from the Big Bang Theory<br /> Influenced by mainstream poetics, translators rewrite the subtitles of American TV series by combining domestication and foreignization. If literal translation is adopted, the over-colloquial expression lacks poetic aesthetic feeling, while subtitle translators use “不攻自破” “谋事在人，成事在天”. These Chinese idioms with profound traditional culture not only accurately convey the meaning of the original sentence, but also cater to the audience's preference of the target language.<br /> In order to obtain social and economic resources and establish their own influence in the target language society, the sponsors will actively encourage the media system to produce as many film and television works as possible and meet the needs of the audience. In order to achieve this goal, they will introduce the mainstream social value orientation in the selection of film and television dramas, and also manipulate subtitle translators to adjust and change the subtitles of American TV dramas to some extent according to the target people's acceptance ability and expectation horizon. (Long juan &amp; Tang Bo, 63-65)<br /> 5:In 1930s, the western world knew very little about Chinese culture at that time, and most people thought that China was a savage and backward nation. The Chinese people in Westerners' minds were ignorant, superficial and vulgar. Facing the misunderstanding and discrimination of Westerners towards China, Lin Yutang tried to show the western world the true philosophy of life and attitude of Chinese people by translating “浮生六记” which told the story of a Chinese couple's quiet and simple life. He adopted the translation strategy of combining domestication and foreignization, which made the translated works not only retain the characteristics of Chinese culture, but also be easily understood and accepted by western readers.<br /> Original text: 彼非作《琵琶行》者耶?<br /> English translation: Isn’t he the one who wrote the poem on The Pi Pa Player?<br /> Here, Lin Yutang translated &quot;琵琶行&quot; into &quot;The Pi Pa Player&quot; rather than &quot;lute&quot; and other forms that were easy for western readers to understand. He adopted the translation strategy of alienation and retained Chinese cultural characteristics, with the aim of making Chinese culture go abroad and giving western readers a certain understanding of traditional Chinese culture.<br /> In order to make the target readers better understand and accept and spread the translated version smoothly, Lin Yutang adhered to the translation criteria of &quot;faithfulness, fluency and beauty&quot; and adjusted the original text to a certain extent. <br /> Original text: 桥南有莲心寺。寺中突起喇嘛白塔,金顶缨络,高矗云霄,殿角红墙,松柏掩映,钟磬时闻;此天下园亭所未有者。<br /> English translation: On the south of the bridge there was the Lotus-Seed Temple, with a Tibetan pagoda rising straight up from its midst and its golden dome rising into the clouds, with the terracotta walls and temple roofs nestling under the kind shade of pine-trees and cypresses and the sounds of temple bells and ch’ing [musical stone] coming to the traveler’s ears intermittently——all combining to achieve a unique effect that could not be duplicated in any other pleasure garden of the world.<br /> The original text described the beautiful scenery of Lianxin Temple in concise language. Lin Yutang combined the two sentences of the original text into a long sentence, forming a compact and clear structure, which vividly presented the scene of Lianxin Temple to western readers. This beautiful sight of China can bring unique aesthetic feeling to western readers, realize the function of literature, and conform to the mainstream poetics at that time.<br /> Sponsors not only have a profound influence on the publication of translated works, but also have an inseparable connection with translators' selection of translation materials. For Lin Yutang's translation of “浮生六记”, the monthly magazine Tianxia and the couple Pearl Buck are influential patrons. (Zhang Baiye &amp; Hu Yajie, 105-108)<br /> 6:In the Chinese translation of Peter Pan, Yang Jingyuan chooses the combination of written language and spoken English in Beijing, and downplays the indecent language in the original text. The choice of this language translation strategy must be determined by his ideology. In the original text, the topic of &quot;mother&quot; appears in many occasions, such as storytelling and character dialogue, and Yang Jingyuan translates it into written language &quot;母亲&quot; in most occasions. &quot;Twins&quot; in the original text is translated by Yang as &quot;孪生子&quot; in written language. Yang Jingyuan tends to use the northern dialect to translate, which is reflected in her translation sequence: when it comes to children's pleasure in never having a hometown, &quot;他们不用上学读那些劳什子的书&quot; &quot;Sweater&quot; is translated as &quot;线衣&quot; and &quot;frock&quot; is translated as &quot;罩褂&quot;. &quot;劳什子&quot;, &quot;线衣&quot; and &quot;罩褂&quot; are typical northern dialects.<br /> In the story, the fairy Ding Keling has a pet phrase &quot;You silly ass&quot;, which Yang translated as &quot;你这笨蛋&quot;. The severely abusive language in the original text is treated as generally critical language in the translated text. Yang Jingyuan was born into a scholarly family and received higher education. Therefore, when she translated words, she intentionally or unintentionally chose the combination of written language and spoken English in Beijing, and downplayed the indecent language in the original text. Therefore, the translator's ideology really controls her translation process.<br /> Yang Jingyuan definitely affirms Peter Pan's literary value and aesthetic value in the translation sequence. Under the control of this poetics, the translator builds a bridge of fantasy with exquisite and beautiful language in his translation, and poetry is perfectly reflected. The original story happened in Neverland, and Yang Jingyuan translated it as &quot;永无乡&quot;. This translation method accurately grasps the spirit of the original work-although this place is good, it is the other side that can never be reached in reality, and the depth of melancholy and helplessness are expressed incisively and vividly. The following examples more fully reflect the manipulation of the original text by the poetics of the target language<br /> Original text: when children died he went part of the way with them.<br /> Translated text: 孩子们死了, 在黄泉<br /> Original text: she used to say afterwards to her husband.<br /> Translated text: 她老是对丈夫说这些事后诸葛亮的话。<br /> The translator deliberately chooses the words &quot;黄泉&quot; and &quot;事后诸葛亮&quot; in a way of additional translation, which are unique in Chinese culture. The manipulation of the target text by the poetics of the target language culture can be seen. Yang Jingyuan was suffering from severe cataract at that time. It was difficult for her to read and write. In order to relieve her distress, her husband helped her translate the book. After reading Peter Pan, Fan Yong especially appreciated it and published it. It can be seen that Peter Pan was originally a spontaneous academic behavior of Yang Jingyuan. The initial sponsor was her lover, and later Fan Yong, general manager of Sanlian Bookstore, so the publishing house was also one of the sponsors. Together, they contributed to the publication of this book. (Xie Chengfeng, 179-181)<br /> 7:Zhu Shenghao translated King Lear in 1942. At that time, China was economically backward and politically turbulent. &quot;Saving the country and the people&quot; and &quot;national liberation in an all-round way&quot; became the mainstream ideology of the society at that time. When it was learned that Japanese translator laughed at the backwardness of Chinese culture, which was a barren place without Shakespeare's complete works, Zhu's patriotic enthusiasm was thoroughly aroused. In order to make the people with low education level understand this western classic better, he paid special attention to the harmony of phonology and the smoothness of the whole article in the process of translation. Meanwhile, he wanted to keep the verve of the original as far as possible. Therefore, he mainly adopts domestication.<br /> (Act II, Scene IV)<br /> Lear: No, rather I abjure all roofs, and choose<br /> To wage against the enmity o’the air;<br /> To be a comrade with the wolf and owl,<br /> Necessity’s sharp pinch! (Shakespeare, 1972)<br /> Zhu’s translation: 不, 我宁愿什么屋子也不要住, 过着风餐露宿的生活, 和无情的大自然抗争, 和豺狼鸱鸮做伴侣, 忍受一切饥寒的痛苦! <br /> Zhu Shenghao is inspired by national honor and disgrace. His three parallelism sentences are full of momentum, like flowing water. Words such as &quot;风餐露宿&quot; and &quot;无情的大自然&quot; also pour out his inner anger and patriotic enthusiasm for the domestic status.<br /> With the rise of the New Culture Movement in China in the 1930s, foreign literature and ideas were constantly introduced by translation. The creation of vernacular Chinese was valued and welcomed. With the principle of letting the general public enjoy Shakespeare's plays, he adopted a more colloquial prose style as the main translation style.<br /> (Act I, Scene I)<br /> Cordelia: But yet, alas! stood I within his grace,<br /> I would prefer him to a better place.<br /> So farewell to you both. (Shakespeare, 1972)<br /> Zhu’s translation: 考狄利娅:可是, 唉!要是我没有失去他的欢心, 我一定不让他依赖你们的照顾。再会了, 两位姊姊。<br /> Zhu Shenghao abandoned the framework of the original text and translated its meaning directly in the form of easy-to-understand prose, reflecting his preference for more colloquial prose translation.<br /> Zhan Wenxu and Zhu Shenghao worked together in the World Publishing House for many years, and Zhan quite appreciated Zhu's literary talent and translation level. Later, Zhan was appointed editor-in-chief of the World Publishing House. He suggested that Zhu Shenghao translate Shakespeare's works, which coincided with Zhu's own ideas. So Zhu signed a contract with the World Publishing House in 1935 and started the process of translating Shakespeare. So Zhan helped Zhu a lot in the road of translation. (Zhou Ya, 176-178)<br /> <br /> ===Conclusion===<br /> Lefevere's manipulation theory has a wide influence in the translation field, holding that translation is a creative process, and the translator will inevitably be influenced by the culture of the target language, and emphasizes three major elements: ideology, poetics and patron.<br /> Leffert emphasized the translator's position and role in literary translation, and pointed out that the translator's subjectivity is extremely complex, and its exertion is restricted by subjective and objective factors such as ideology and custom system. Ideology can be divided into mainstream social ideology and translator's personal ideology. Its influence on translation is everywhere, and the translator's thoughts, viewpoints, writing style and even his surroundings will be manipulated by invisible ideology. In the process of translation, the intended readers and clients in the translator's mind come from the target language system, and the translator himself is immersed in the culture of the target language system. Therefore, the mainstream poetic form of the target language system and the popular literary view at that time are largely used in the whole process of translation literature creation. Sponsors have a certain status and can provide remuneration and other help to translators. They can restrict the translation norms and decide the publication of translated works, and even decide the translator's translation goals and strategies and the acceptance of translated works.<br /> <br /> ===Bibliography===<br /> <br /> ==Roger T.Bell’s Special Outlook on Translation Studies 陈江宁 Chen Jiangning==<br /> <br /> ==A Brief Introduction to the Translation Theories of Catford and Eugene Nida 杨晨婷 Yang Chenting==<br /> <br /> ==On the Differences of Nida's and Newmark's Theory==<br /> <br /> &lt;center&gt;康灵凤 Kang Lingfeng&lt;/center&gt;<br /> <br /> '''摘要'''<br /> <br /> 尤金·奈达和彼得·纽马克是西方著名的翻译家和翻译理论家，经过多年的翻译实践，他们各自提出了一套自己的翻译理论系统。奈达提出了翻译功能对等理论。彼得·纽马克提出了语义翻译和交际翻译的概念。两人处于同一时代背景，他们的翻译理论不可避免的有相似之处，但是两人的翻译理论也有不同，本文将对比两者的翻译理论，着重分析奈达和纽马克两人翻译理论的差别。<br /> <br /> '''关键词'''<br /> <br /> 功能对等；语义翻译；交际翻译<br /> <br /> '''Abstract'''<br /> <br /> Eugene A. Nida and Peter Newmark are noteable translators and translation theorists in the western world. They respectively ever proposed a set of tanslation theory system after many years of translation practice. Nida put forward functional equivalence theory. Their translation theories inevitably have some similarities in that they are under the same social background. This thesis will compare translation theories of them, and analyze the differences between Nida’s and Newmark’s translation theories. I hope to provide useful references for translation colleagues.<br /> <br /> Eugene A. Nida and Peter Newmark are noteable translators and translation theorists in the western world. They respectively each proposed a translation theory system after many years of translation practice. Nida put forward the 'functional equivalence theory'. Their translation theories inevitably have some similarities in that they were created under the same social background. This chapter will compare their translation theories, and analyze the differences between Nida’s and Newmark’s translation theories.--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:12, 23 November 2020 (UTC)<br /> <br /> '''Key Words'''<br /> <br /> Functional equivalence; semantic translation; communicative translation<br /> <br /> ===Chapter 1 Introduction of Nida’s and Newmark’s Translation Theories===<br /> <br /> Nida worked for translation department of American Bible Society and organized Bible translation, and drew some conclusions when translating Bible. According to these experiences, he published ''Toward a Science of Translating'' in 1964, ''The Theory and Practice of Translation'' in 1969, etc. His translation theory and the phrase-dynamic equivalence was first introduced in the former book with many examples about Bible translation. Peter Newmark and Eugene A. Nida are the same century and Newmark is two years younger than Nida. But Newmark’s translation theory appears 20 years later than Nida’s. Since 1974, Newmark has begun to teach students translation theories in the university and try to write passages about translation problems. It is said that Newmark’s ideas are from his classes. His first works-''Approaches to Translation'' was published in 1981, which gained widespread praise immediately. Semantic translation and communicative translation were put forward in this book.<br /> <br /> ====1.1 Introduction of Nida’s Translation Theory====<br /> <br /> ====1.2 Introduction of Newmark’s Translation Theory====<br /> <br /> ===Chapter 2 About Research Methods of Translation===<br /> <br /> ===Chapter 3 About Translation===<br /> <br /> ====3.1 About Content and Form in Translation====<br /> <br /> ====3.2 About Degree of Emphasis on the text====<br /> <br /> ===Chapter Four About Translation Evaluation Criteria===<br /> <br /> ===Conclusion===<br /> <br /> ===References===<br /> <br /> ==Impacts of Western Translation Theories on The Translator’s Guide to Chinglish 赵茜 Zhao Xi==<br /> <br /> ='''Chinese Translation Theories'''=<br /> <br /> <br /> ==A breif introduction to Xu Yuanchong's translation theories 杨逸 Yang Yi==<br /> ===Abstract===<br /> Xu Yuanchong has been engaged in literary translation for more than 60 years and has published more than 120 translated works in Chinese, English or French at home and abroad, almost half of his works focus on the translation of ancient Chinese poems. He was honored as &quot;the best one who translate poems from Chinese to English and French &quot; and was presented with &quot;Aurora Borealis&quot; Outstanding Literary Translation Award. So this paper will be divided in three parts, based principally on his poetry translations, to introduce briefly Xu Yuanchong’s translation theories : his principle of three beauties, his principle of three transformations and his principle of three purposes.<br /> ===Key words===<br /> Xu Yuanchong ; principle of three beauties ; principle of three transformations ; principle of three purposes<br /> ===摘要===<br /> 许渊冲从事文学翻译工作超过六十年，已经在国内外出版中、英、法文著作一百二十多部。这其中中国古代诗词几乎占到了一半。他被誉为“诗译英法唯一人”，曾获“北极光”杰出文学翻译奖，是首位获此殊荣亚洲翻译家。因此本论文主要将分为三部分，结合他的诗歌译本来浅析他的翻译理论：“三美论”,“三化论”和“三之论”。<br /> ===关键词'''===<br /> 许渊冲；三美论；三化论；三之论<br /> ===Introduction===<br /> <br /> ===Chapter 1 principle of three beauties===<br /> <br /> ===Chapter 2 principle of three transformations===<br /> <br /> ===Chapter 2 principle of three purposes===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Ji Xianlin’s view on translation 马淑雅 Ma Shuya==<br /> <br /> ==Translation Thoughts and Theories in China 雷方圆 Lei Fangyuan==<br /> <br /> ==Comparison between the History of Chinese and western Translation 张佩闻 Zhang Peiwen==<br /> <br /> ==Reflections of Translation Theory Books 李丽琴 Li Liqin==<br /> <br /> ==A Brief Introduction to Lu Xun's Translation Theories 张瑜 Zhang Yu==<br /> <br /> ===Abstract===<br /> Lu Xun, as China’s renowned writer, thinker and one of founders of Chinese modern literature, has left a great amount of precious spiritual wealth. His representative works include Outcry, A Madman's Diary, Dawn Blossoms Plucked at Dusk, Wild Grass and so on, which are the bright pearls of Chinese literature. We have a general understanding of him when he served as a writer. In fact, as a translator, Lu Xun has also left profound translation works for generations including translations of literature and theory works. Even seeing from the time line, the records of his translation activities were far prior to his literary creation. His earliest novel, Nostalgia, was finished in 1911, while his earliest translation, Mournful World, as finished in 1903. In the process of translating different works, Lu Xun gradually formed his own translation theory. Therefore, learning more about his translation theory is conducive to comprehensively recognizing him. This paper mainly introduces Lu Xun's translation theory as well as its formation and development.The purpose is that make everyone have a more profound understanding to Lu Xun's theory.<br /> <br /> ===Key Words===<br /> Lu Xun, Translation Theory, Literal Translation, Hard Translation,<br /> <br /> ===摘要=== <br /> 鲁迅作为我国著名的文学家、思想家、中国现代文学的奠基人之一，给我们留下了一大批宝贵的精神财富，如他的代表作品《呐喊》、《狂人日记》、《朝花夕拾》、《野草》等，都是我国文学宝库中璀璨的明珠。而我们对他的了解可能始于他的作家身份，但事实上，作为翻译家的鲁迅也给后人留下了内容丰富的翻译作品，其中包括文学作品翻译和理论著作翻译。甚至从时间上来看，他从事翻译活动要远远早于文学创作活动，鲁迅最早的小说《怀旧》创作于1911年，而他最早的译文《哀尘》则完成于1903年。鲁迅在从事翻译活动的过程中，逐渐形成了自己的翻译思想，所以了解鲁迅的翻译思想有助于我们更加全面地了解鲁迅。本章回将主要介绍鲁迅的翻译思想及其形成与发展,以此让大家对鲁迅的翻译思想有一个更深刻的了解。<br /> <br /> ===关键词===<br /> 鲁迅，翻译思想，直译，硬译，宁信不顺<br /> <br /> ===1.Introduction===<br /> It is estimated that Lu Xun translated 144 pieces of works of 110 writers from 15 countries and regions in his whole lifetime (Xu Lan, 2017:447). Meanwhile, Lu Xun was engaged in translating foreign literary works from 1903 to 1936, which lasted a long period. Therefore, his identity serving as a translator cannot be neglected. In fact, in the process of undertaking translation, Lu Xun has made great contributions to the Chinese translation history, such as coming up with a series of translation theory. This paper intends to introduce Lu Xun’s translation theory, including his purpose of translation, literal translation and hard translation, the speech and syntax of translation, retranslation and translation criticism. Then it discusses the formation and development of Lu Xun’s translation theories, such as the translation methods developing from free translation to literal translation and even hard translation.<br /> <br /> ===2.Lu Xun's Translation Theories===<br /> <br /> 2.1 Purpose of Translation<br /> <br /> From 1903 to 1936, the works and articles translated by Lu Xun can be divided in two categories. One includes scientific literary theories and revolutionary literary works; another includes other articles and works different from the first one. However, the purposes that he translated the two categories of works are different. <br /> <br /> For the first category, he hoped that these translation works were able to service for the revolution and serve as the “guide of future revolutions”. In the Hard translation and Hierarchy of Literature published in 1930, Lu Xun responded that it worked for me, for some who claimed proletarian literary critics, and for some readers who were willing to learn more about the theory in spite of having difficulties. From the remarks of Lu Xun, we can see that these works translated by him aimed at not only improving and introspecting himself, but also helping those literature workers who stand with him. In his essays, he usually compared the importance of translation to the Greek mythology that the hero Prometheus stole fire from the gods and gave it to earthly mortals. In his point of view, he believed that these scientific literary theories and revolutionary literary works were able to bring “fire and light” for people. For example, the purpose of translating the Russian work, Destruction (written by A. Fadeyev, translated by Lu Xun) was to introduce steel-willed characters and struggles without fear of sacrifice, encourage Chinese people to engage themselves in revolutionizing the old society, and provide references for Chinese revolutionary writers to create more inspiring works.<br /> <br /> For the second category, Lu Xun hoped that these translation works were able to provide reference materials for people. In the preface of his translation, Ideology, Landscape, Figure, he mentioned that “my translation and introduction aim at making part of readers learn the existence of these things, persons, ideology and remarks…Therefore, if I believe that it’s useful and beneficial, I would attempt to translate it.” For example, he claimed that young people could read some books about imperialists to know more about the foreign countries. There is an old saying that “know the enemy and know yourself, and you can fight a hundred battles with no danger of defeat”. <br /> <br /> 2.2 Free Translation and Hard Translation<br /> <br /> 2.3 The Speech and Syntax of Translation<br /> <br /> 2.4 Retranslation<br /> <br /> 2.5 Translation Criticism<br /> <br /> ===3.The Formation and Development of Lu Xun's Translation Theories===<br /> <br /> ===4.The Application of Lu Xun's Translation Theories===<br /> <br /> ===5.Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> *顾钧.鲁迅翻译研究[M].福建：福建教育出版社，2009年.<br /> <br /> ==Japanese and English--Contrastive analysis and Linguistic typology 谢子熠 Xie Ziyi==<br /> ==A Brief Introduction to Eco-translatology Theory 刘怡瑜 Liu Yiyu==<br /> <br /> ='''Translation Theories'''=<br /> <br /> ==A study on a History of Translation Theory 李梦 Li Meng==<br /> <br /> ==A Comparative Study of Translation Theory between Bell and Liu Zhongde 林鑫 Lin Xin==<br /> <br /> ==A Comparative Study of Nida's Theory and Jin Di's Theory 罗维嘉 Luo Weijia==<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> ===Jin Di's Translation Theory of Equivalent Effect===<br /> <br /> ===Nida's Translation Theory of Dynamic Equivalence===<br /> <br /> ===Difference Between Jin's Theory and Nida's Theory===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Translation , Translating and interpreting 漆凯 Qi Kai==<br /> <br /> ==A Brief Introduction to Chinese Translation Theories Around the Turn of 20th Century 郭露 Guo Lu==<br /> <br /> ==='''Abstract'''===<br /> In this chapter, I define theory as a group of ideas meant to explain a certain topic, and translation theory comes from, explains and in turn guides translation practice. The relationship between translation theory and translation practice ideally could be that of interacting, mutual constructing, complementing and enhancing each other. Besides that, translation theory may help a translator to open his or her horizon, enriching his or her knowledge, enhancing his or her skills, and finally promoting him or her to a master. Therefore, this chapter gives a brief introduction of translation theories and helps translators to learn more about them.<br /> <br /> ==='''Key Words'''===<br /> Translation theory, Chinese translation theories, Western translation theories<br /> <br /> ==='''摘要'''===<br /> 理论旨在对某一话题进行解释，翻译理论来源于翻译实践，同时又对翻译实践进行了阐述，并反过来指导实践的发展。翻译理论和实践之间的关系在于两者之间相互关联、相互补充和完善。除此之外，翻译理论还能帮助译者拓宽视野，丰富译者的理论知识和技能，有利于译者在翻译这一领域更好的发展。因此，本文对各翻译理论进行简要介绍，以帮助译者更好的了解主流翻译理论。<br /> <br /> === '''关键字'''===<br /> 翻译理论；中国翻译理论；西方翻译理论<br /> <br /> ==='''Chinese Translation Theories'''===<br /> <br /> 1.1 Buddhist Scripture Translation Theory<br /> <br /> 1.2 Chinese Translation Theories Around the Turn of the 20th Century<br /> <br /> 1.3 Chinese Translation Theories in the 20th Century<br /> <br /> ==='''Early Western Translation Theories'''===<br /> <br /> 2.1 Translation History of the West in Ancient Times<br /> <br /> 2.2 Early Bible Translation<br /> <br /> 2.3 Translation in the Early Middle Ages<br /> <br /> 2.4 Translation Theories in the Renaissance Period<br /> <br /> 2.5 Translation in Early Modern Europe<br /> <br /> ==='''Modern Western Translation Theories'''===<br /> <br /> 3.1 The Structuralist School<br /> <br /> 3.2 The linguistic School of Translation Studies<br /> <br /> 3.3 The School of Communicative Translation<br /> <br /> 3.4 Functional Theories of Translation<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''References'''===<br /> <br /> ==The Influence of Cultural Differences on Translation Methods 张宇星 Zhang Yuxing==<br /> <br /> ='''Comparison of Translation Theories'''=<br /> <br /> <br /> ==Comparison Of Translation Theory Between Yan Fu And Tytler 陈涵 Chen Han==<br /> ===Abstract===<br /> <br /> Yan Fu and Tytler are outstanding translators in the history of Chinese and Western translation respectively. Tytler’s “Three Principles of Translation” and Yan Fu’s “Faithfulness, Expressiveness and Elegance” are one of the most important translation theories. It is believed that the two theories have a broad and profound impact on Chinese and Western translation theories and practices. Although they lived in different times, their theories were quite similar which aroused much controversy. This paper will expound “Three Principles of Translation” and “Faithfulness, Expressiveness and Elegance” and focus on the similarities and differences between these two theories in terms of content, theoretical basis and culture. It aims to figure out the relationship between the two theories, better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a dialectical perspective, thus making Translation Studies become more systematic and scientific.<br /> <br /> ===Key words===<br /> <br /> Faithfulness, Expressiveness and Elegance; Three Principles of Translation; Yan Fu; Tytler<br /> <br /> ===摘要===<br /> <br /> 严复与泰特勒分别是中西方翻译史上的杰出翻译家。严复的“信达雅” 与泰特勒的“翻译三原则”分别是中西翻译史上最重要的翻译理论之一，对翻译理论与实践方面有着广泛深刻的影响。严复与泰特勒二人虽处于不同的时代，但他们的翻译理论却十分相似，从而引起许多争议。本文将系统阐述二人的翻译理论，从这两种理论的内涵、文化背景和理论基础等方面比较二者的相似点和不同点。这种做法有助于理清两个理论之间的关系，更好的将翻译理论应用于翻译实践，并主张我们辩证看待中西方翻译理论，从而使翻译研究更具有系统性与科学性。<br /> <br /> ===关键词===<br /> <br /> 信达雅；翻译三原则；严复；泰特勒<br /> <br /> ===Introduction===<br /> <br /> In the history of translation, many outstanding scholars and translators have emerged both in China and in the West. They have never stopped discussing translation, and most of them have systematically summarized translation standards. In ancient China, many translation thoughts and translation theories emerged, including Shi Daoan’s “Five Instances of Losing the Source and Three Instances of Difficulties” and Xuan Zang’s “Five Guidelines for Not-Translation a Term” (Zhang Peiyao, 2014). Later, Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Qian Zhongshu’s “Sublimation” theory appeared successively. Prominent representatives of Western translation theory include five elements of translation put forward by a French linguist Etienne Dolet in the 16th century, seven rules of translation put forward by a German translation theorist Martin Luther, three principles of translation by a British translation theorist Tytler in the 18th century, semantic translation and communicative translation of Newmark in the 20th century, and the dynamic equivalence of Nida. <br /> <br /> In this process, Chinese and Western translation theories have been developing independently in a relatively isolated state. It was not until about the beginning of the 20th century that initial exchanges and dialogues began. Translation standards are the core issue of translation theory and practice. At the beginning of the exchange, the translators were concerned about it. At the end of the 18th century, Tytler proposed three basic principles for translation and evaluation of translation, which had a great impact on later translation theorists. More than 100 years later, Yan Fu’s translation standard of “Faithfulness, Expressiveness and Elegance” was put forward. This chapter will discuss two representative translation theories from China and the West—Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Tytler’s Three Principles of Translation, and analyze the two theories from the historical and cultural background and their theoretical basis of. Through comparison, we can grasp the similarities and differences between the two theories, so as to contribute to translation studies and guide future translation practices.<br /> <br /> ===An Overview of the Two Theories===<br /> <br /> Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Tytler’s Three Principles of Translation have had a profound impact on the history of translation at home and abroad. If we compare and analyze the two theories, we must first correctly understand the connotation of each theory.<br /> <br /> '''1.Yan Fu’s Translation Principles of Faithfulness, Expressiveness and Elegance'''<br /> <br /> Yan Fu was a Chinese scholar and translator, most famous for introducing western ideas. His three translation principles—faithfulness, expressiveness and elegance first made its appearance in Yan’s preface to his own translation of T. H. Huxley’s ''Evolution and Ethics'' (1898): <br /> <br /> “Translation involves three requirements difficult to fulfill: faithfulness (''xin''), expressiveness (''da'') and elegance (''ya''). Faithfulness is difficult to attain but a translation that is faithful but not expressive, or fluent, is no translation at all. Expressiveness is therefore of prime importance. Since China’s opening to foreign trade by sea, there has been no lack of interpreters and translators. But if you assign them any book to translate and tell them to meet these two requirements, few can do so.” (Yan Fu, 2009: 202)<br /> <br /> In his words, the three principles indicate that the translator should be faithful in conveying the message of the original text, fluent in the expression in the target language and elegance in style. Faithfulness emphasizes the fidelity to the original. Yan believes that the translator cannot begin his work until he has mastered the connotation of the original text. Expressiveness stresses the fluency and acceptability of the translation. As for elegance, Yan holds that dictation without elegance cannot reach far. So far, elegance has led some discussions in the study of translation. <br /> <br /> Based on his understanding of ancient Buddhist Scriptures translation and his own translation practices, Yan Fu put forward “faithfulness, expressiveness and elegance” which has become the fundamental tenets of 20th Chinese translation theory. <br /> <br /> '''2 Tytler’s Three Principles of Translation'''<br /> <br /> Alexander Fraser Tytler is an eminent British translation theorist. In 1790, he proposed three principles of good translation in his book, ''Essay on the Principles of Translation''. When it comes to a good translation, he described that the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt by a native of the country to which that language belongs, as it is by those who speak the language of the original work. (Tytler, 2007: 8-9) <br /> <br /> According to his description of good translation, it can be easily seen that Tytler has attached great importance to mastery of ideas in the original texts. Therefore, he put forward three principles on the basis of good translation: (1) That the Translation should give a complete transcript of the ideas of the original work; (2) That the style and manner of writing should be of the same character with that of the original; (3) That the Translation should have all the ease of original. (Tytler, 2007: 9) From Tytler’s point of view, the order of these three principles is appropriate and natural, and it is arranged by importance. If translating a text, one cannot pursue the smoothness and elegance at the cost of ignoring the ideas in the source language.<br /> <br /> The appearance of Tytler’s Three Principles of Translation laid a good foundation for Western translation studies. And it created a research method of induction through theory.<br /> <br /> ===The Social and Theoretical Background of the Two Theories===<br /> <br /> ===Similarities and Differences Between the Two Theories===<br /> <br /> ==Comparison of Eileen Chang’s Self-Translation and Conventional Translation from the Perspective of Gender 纪甜甜 Ji Tiantian==<br /> '''摘要：''' 张爱玲作为中国女性主义文学的代表人物，在她的创作过程中，女性主义思想、性别意识得到了充分的体现。张爱玲本人除了是一个作家外，也身兼译者的身份，从性别视角研究其自译与他译文本中所采取的翻译策略及其体现出来的性别意识，有助于张爱玲翻译研究的进一步发展，弥补中国翻译史中女性翻译史的欠缺，也有利于性别研究在中国语境下的进一步发展。<br /> <br /> '''关键词：''' 张爱玲，性别，自译，他译<br /> <br /> '''Abstract:''' As a representative figure of Chinese feminist literature, Eileen Chang’s feminist thoughts and gender consciousness have been fully reflected in her creation process. Besides, she is not only a writer, but also a translator. Studying her translation strategies in self-translation and conventional translation and exploring the gender consciousness reflected in her process of translation can help to the further development of translation studies of Chang, make up for the lack of translation evaluation of Chinese women and it also conducive to the further development of gender study in the context of China.<br /> <br /> '''Key words:''' Eileen Chang, gender, self-translation, conventional translation <br /> <br /> '''Introduction'''<br /> <br /> Eileen Chang, as a Chinese well-known female writer in the 20th century, her novels and prose has attracted much attention, so that many scholars focus on her literary creation achievement but ignore her translation, numerous books aiming to introduce the Chinese translation history make no mention of Eileen Chang's identity as a translator. In fact, Eileen Chang should be reckoned with in the translation field in that she has also made significant contributions in translation. Mao Dun has pointed out that “ People who can translate literature books must be someone has talent in creation”, looking through the Chinese history, we can find that there are not so much Chinese writers who can also translate, but Eileen Chang is one of them. She, with her powerful creative talent and bilingual skills, has translated diverse works, including a variety of novels, prose and poems, at the same time, she has also made her contributions in compiling movie scripts. Here, the translations will be talked about are her self-translation of Jin Suo Ji (The Golden Cangue) and conventional translation of The Old Man and The Sea.<br /> <br /> Eileen Chang, as a leader of feminist literature in China, the feminism thought profoundly embodied in her literary creation and translation, however, speaking up for women has not limited her exploration of male identity,in the process of depicting the typical characters with different genders, Eileen Chang, as the author or the translator, represents different gender identities.--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 12:33, 22 November 2020 (UTC)<br /> <br /> '''Ⅰ Gender and Translation'''<br /> <br /> Since the rise of feminism in the western continent in the 20th century, the topic of gender has always been placed at the core of its theoretical development. Feminist translation theory thought that between women and translation there was some kind of similarity - both of them were placed in the inferior position. So they combined feminism and translation, advocating from the feminist standpoint, using language to create positive intervention to change women’ s weak position in translation, so that it can criticize the traditional translation theories which degrade women and translation to the bottom of the society or literature phenomenon. During this period, the research on the relationship between gender and translation has seen the influence of gender identity on translation, which is a big development. However, the over-emphasis on the opposition between the two sexes has its limitations.<br /> <br /> As Sherry Simon has pointed out, “Men can adopt the rules of feminist translation theory, and women can successfully translate men’ s works...Another interesting area for study is how gender identity can be disguised through translation” (1996: 168), that is, gender identity can be disguised during translation, or the identity represented by the translator is not a single fixed one.With the development and innovation of various theories, translation studies from the perspective of gender, when developed into the 1980s, under the influence of post-structuralism theory, its focus has shifted from the over-emphasis on the opposition between men and women to the exploration of meaning and gender fluidity.<br /> <br /> This thesis, facing such a change of gender translation studies, aims to study Eileen Chang’ s translations from the perspective of gender liquidity. To some extent, this thesis breaks the status quo that the study on Eileen Chang is onefold about feminism and explores her gender identity transformation in translation to dig out the influences different gender identities make to the translation.<br /> <br /> '''Ⅱ The Gender Identities in Eileen Chang’ s self-translation -- A Case study of the English translation of Jin Suo Ji'''<br /> <br /> As one of the most representative works of Eileen Chang, Jin Suo Ji was once honored as “the greatest novella in the history of Chinese literature” by Xia Zhiqing, while Fu Lei also gave a high evaluation of this work, and he said that it was “one of the most great achievements in our literary world”. In order to perfectly present the culture and thought of the original work, Eileen Chang chose to translate it herself. It took her nearly 10 years to rewrite or self-translate Jin Suo Ji, including four different versions: Pink Tears, The Rouge of The North, Yuan Nv and The Golden Cangue. However, due to the cultural differences between English and Chinese contexts, the English version is far less successful than the Chinese version especially the first two English versions did not receive much attention. It was not until 1971 that her fourth English version was produced and chosen into Twentieth - Century Chinese Stories.<br /> <br /> Eileen Chang’ s works overturns the traditional patriarchal discourse, turning to the female as the center of her literature creation, and in her works, the main objects are those ordinary women who live a tragic life. These works fully show her sympathy to the fate of women, and reflect her intense gender consciousness which is also reflected in her translation.<br /> <br /> '''1. Translator’ s female identity used to show the emotional resonance to female characters'''<br /> <br /> In Jin Suo Ji, Ch’ i-ch’ iao is definitely a beautiful and healthy girl. However, due to the economic reasons and family pressure, she has to marry a disabled husband with an ugly appearance. In the face of such a marriage, Ch’ i-ch’ iao’ s sorrow is obvious, and hoping for love, she turns her eyes to Jiang Jize. However, the reality proves to her that Jiang Jize’ s so-called emotion is just a use. Eileen Chang, as a female translator, is full of sympathy for Ch’ i-ch’ iao’ s situation, and this sympathy is fully reflected in her translation.<br /> <br /> ST： <br /> （七巧的手直打颤，扇柄上的杏黄须子在她额上苏苏摩擦着......）七巧低着头，沐浴在光辉里，细细的音乐，细细的喜悦.....这些年了，她跟他捉迷藏似的，只是近不得身，原来还有今天！<br /> <br /> TT：<br /> ( Ch’ i-ch’ iao’ s hands trembled until the yellow tassel on the fan handle rustled against her forehead...) Ch’ i-ch’ iao bowed her head, basking in glory, in the soft music of his voice and the delicate pleasure of this occasion. So many years now, she had been playing hide-and-seek with him and never could get close, and there had still been a day like this in store for her. <br /> <br /> Comparing the source text with the target text, it can be found that Eileen Chang made three main additions here: “of his voice”, “of this occasion” and “in store” to explicate the implied information in the source text, which more powerfully revealed Ch’ i-ch’ iao’ s strong feelings of love and uneasiness for Jiang Jize all the time. From then on, It can be seen that Qiqiao once placed her hope in Jiang Jize for love. However, from the description in the following text, we can find that for Jiang Jize, the affection with Ch’ i-ch’ iao is just for regulating his life. Eileen Chang clarified Ch’ i-ch’ iao’ s emotion in the translation and revealed Jiang Jize’ s so-called emotion in the later text, which could show the tragic color of Ch’ i-ch’ iao to express the translator’ s sympathy for the character.<br /> <br /> '''2. The Translator’ s Male Identity Used to Show the Passive Position of Women'''<br /> <br /> In Jin Suo Ji, the author used a large number of metaphors and suggestive words to describe the traditional women’ s survival condition. In order to more intuitively present such a state to the readers, Eileen Chang tried her best to translate from the male identity, which to a certain extent derogates the female consciousness of the text, to show the passive and helpless of female characters under a specific era background.<br /> <br /> ST：<br /> 娟姑娘扶了正，做了芝寿的替身。<br /> <br /> TT：<br /> Miss Chuan was made a wife and became Chih-shou’ s substitute. <br /> <br /> The source text describes that after the death of Ch’ i-ch’ iao’ s daughter-in-law Chih-shou, Chuan, as a concubine of Ch’ ang - pai, was supported as his wife. The expression of “扶了正” is full of metaphorical color, “正” is a metaphor for the official wife, and “扶” indicates that Chuan is a passive object controlled by the feudal family. In the translation, Eileen Chang used the passive voice to translate “扶了正” into “was made a wife” to convey the manipulated situation implied in the source text. In addition, here Chang uses the article “a” instead of “the”, just as there will be others to take the place of Chih-shou after her death, the position of the official wife is also low in the feudal family.<br /> <br /> Another typical example in which the translator expressed herself as a male to show the passive position of the female is reflected in the translation of Ch’ ang-an and Ch’ ang - pai’ s separation scene:<br /> <br /> ST：<br /> 长安和长白分了家搬出来住。<br /> <br /> TT：<br /> Ch’ ang-an got her share of property from Ch’ ang - pai and moved out of the house. <br /> <br /> The original describes the scene in which Ch’ ang-an and Ch’ ang - pai split up after Ch’ i-ch’ iao’ s death. Here “分家” is a phrase with metaphorical color, instead of translating it directly into “divide the property”, Eileen Chang, from the perspective of male identity, conceals the hidden information of the original in the translation. She translates the sentence “长安和长白分了家” into “Ch’ ang-an got her share of property from Ch’ ang-pai”, which reveals the fact that in the feudal familyof China, men had the right to inherit the family while women were subordinated.<br /> <br /> '''3. The translator reveals the reality objectively under the disguise of gender identity'''<br /> <br /> In the process of translation, Eileen Chang not only used the identity of male or female to flexibly express the meaning of the original text, but also appropriately concealed her gender identity in some situations to reveal the reality of all characters including both sexes.<br /> <br /> ST：<br /> （去年她戴了丈夫的孝，今年婆婆又过世了。）现在正式挽了叔公九老太爷出来为他们分家。<br /> TT：<br /> （Last year, she wore mournings for her husband and this year, her mother - in - law had passed away.）Now her husband’ s uncle, Ninth Old Master, was formerly invited to come and divide the property among the survivors. <br /> <br /> The source text shows us that after the death of the old woman in power of Jiang Mansion, a group of men and women gathered to separate their families.In the translation of the text, Eileen Chang did not make too many adjustments, but only abstracted the word “他们” which indicates “them” into “survivors”, a word with multiple meanings.Firstly, the survivors were indeed “alive” relative to the old woman who died, so the “survivors” conveyed the meaning of the original text. Secondly, to some extent, in Eileen Chang’ s eyes, both men and women were struggling in the mud in this turbulent era shrouded by feudal ideology, “everyone is a survivor of suffering”. Therefore, she used the word “survivors” to reveal the abuses of the era and sigh over life.<br /> <br /> Due to the work itself has strong female consciousness, therefore, as a translator, Eileen Chang inevitably translates from female perspective most of the time, but this does not mean that female translators do not have the male consciousness, from the second case, we can see that the identity of the translator can be transformed. In addition, the fluidity of the translator's gender identity is not only reflected in Eileen Chang's translation of female texts, but also reflected in her translation of male texts.<br /> <br /> '''Ⅲ. Eileen Chang’ s Gender Identity in her conventional translation -- Taking the Chinese translation of The Old Man and the Sea as an example'''<br /> <br /> The Old Man and the Sea is an outstanding masterpiece of the famous American writer Ernest Miller Hemingway. It was published in 1952 and won the Pulitzer Prize in the second year. In 1954, Hemingway won the Nobel Prize of Literature by virtue of this work. Eileen Chang left Shanghai and arrived in Hong Kong in 1952, just after the publication of The Old Man and the Sea. Invited by the press Office of the U.S. Consulate General in Hong Kong, Eileen Chang began to participate in a large-scale Chinese-translation project of American literary works, including The Old Man and the Sea.<br /> <br /> When it comes to The Old Man and the Sea, in the prologue of its Chinese version, Eileen Chang expressed her affection of this work many times and different from the self-translation in which she has taken a bold rewriting, in the translation of The Old Man and the Sea, Eileen Chang was more faithful to the original, and only presented her subjectivity in the choice of the gender identity. Eileen Chang expressed her understanding of the gender of the source text in the prologue, and then creatively translated the gender-loaded words in the text accordingly.<br /> <br /> '''1. The Translator’ s Female Identity Used to Deepen the Work’ s Emotion'''<br /> <br /> It is undeniable that female translators depict emotions more deeply and delicately than male translators. Therefore, in the process of translating The Old Man and the Sea, Eileen Chang, as a female herself, is particularly adept in showing the emotional characteristics of Sandiego. “...In her translations, she uses rephrasing, color words and onomatopoeia words which are full of feminine characteristics. Those words hint about her feminist thoughts and subtly reveal her identity as a female translator.” (Mao Pingping, 2018)<br /> <br /> ST：<br /> “Come on.” the old man said aloud. “Make another turn. Just smell them. Aren’ t they lovely? Eat them good now and there is the tuna. Hard and cold and lovely.” <br /> <br /> TT：<br /> “再兜一个圈子。你闻闻看。这沙丁鱼可爱不可爱?好好地吃它们吧，不时还可以吃吃那鳍鱼。硬硬的，冷的，可爱的。”<br /> <br /> Here Eileen Chang uses a number of reduplicated words “闻闻”, “可爱不可爱”, “好好地”, “吃吃” and “硬硬的” to translate the dialogue between the old man and the fish, or in other words, the old man’ s self-talk to soften the whole image of Sandiac and also show his loneliness.<br /> <br /> '''2. The translator concealed gender identity to break the arbitrary male discourse'''<br /> <br /> As a work of men power, the word “man” can be found throughout the whole novel, and translation of this word has mainly two kinds of different ways, one is to follow the novel emotional qualitative, translating it into “男子汉” or some words having the similar meaning, and this way is often taken by many male translators. The second way is to expand the scope of objects, translating it into “人” or “人类” which includes both men and women. To some extent, this way blurs gender identity or conceals gender identity to achieve gender balance in the meaning. Eileen Chang adopted the second method in her translation:<br /> <br /> ST: <br /> It is what a man must do．<br /> <br /> TT: <br /> 男子汉就应该这样。(海观译) <br /> 男子汉就该这么干。(吴劳译) <br /> 活总是要干的。(张爱玲译) <br /> <br /> Wu Lao and Hai Guan both translated “man” into the concept of “male”, while Eileen Chang avoided using such words in translation. Here she translated the original text into a sentence pattern without subject, omitted the subject with gender description, and in fact blurred the gender boundary of the words, thus breaking the arbitrary power of male discourse.<br /> <br /> '''3. The translator’ s male identity used to recognize the limitation of male power'''<br /> <br /> For the translation of “man”, Eileen Chang also adopted another translation method:<br /> <br /> ST：<br /> “But man is not made for defeat,” he said. “A man can be destroyed but not defeated.”<br /> <br /> TT：<br /> “但是人不是为失败而生的，”他说。“一个男子汉可以被消灭，但是不能被打败。”（张爱玲译）<br /> “可是一个人并不是生来要给打败的，”他说。“你尽可把他消灭掉，可就是打不败他。”（海观译）<br /> “不过人不是为失败而生的，”他说。“一个人可以被毁灭，但不能给打败。”（吴劳译）<br /> <br /> Here, contrary to the previous example, Hai Guan and Wu Lao translated “man” into “人”, while Eileen Chang translated “man” into “男子汉”which means male, pointing out that “a male can be destroyed”. Compared with Hai and Wu's translation, Chang’ s translation, though excluding the female crowd, emphasizes the limitation of male power.<br /> Eileen Chang's translation is very characteristic. By taking advantage of different gender identities to give play to her translator's subjectivity, Eileen Chang transformed the image of Santiago, a tough man who fought bravely against nature created by Ernest Hemingway in the original text, into the image of a fisherman, a symbol of gender equality and a representative of all mankind.<br /> <br /> Through the self-translation and conventional translation of Eileen Chang, we can see that the gender identity of the translator is not unchangeable, either in the feminist text (Jin Suo Ji) or in the text expressing the male discourse power (The Old Man and the Sea). The translator can adjust his/her gender identity to represent different genders and thus achieve his/her translation purpose.<br /> <br /> '''Ⅳ. Reasons for the change of gender identity in Eileen Chang’ s Self-translation and conventional translation'''<br /> <br /> '''1. The influence of cultural context on the transformation of translator's gender identity'''<br /> <br /> Malinowski, a Polish anthropologist, first put forward the concept of “context” and he divided context into cultural context and situational context. Here the author mainly expounds the influence of the cultural context on the transformation of the translator’ s gender identity in the two literary works Jin Suo Ji and The Old Man and the Sea. “The literary creation of any country or region cannot be separated from the rendering of the corresponding cultural context...A good translation cannot be achieved without a profound understanding of the context of the text.” (Xi Peihua, 2017)<br /> <br /> The creation context of Jin Suo ji is different from that of The Old Man and the Sea, and the social background of the readers of the target language and the source language is also different, which all affect the choice of the translator’ s gender identity.For example, Eileen Chang’ s work Jin Suo Ji reflects the difficult survival of Chinese women in the feudal family under the background of the 20th century. The original text uses many metaphors and suggestive words to describe the traditional women’ s survival, and it’ s not difficult for the source language readers who are in the same social background to understand the indicating meaning of those words, however, when the text is take into a different context while the text content is presented in the same way, it is not easy for the target language readers to understand, just as the expression “分家” in the sentence “长安和长白分了家搬出来住” has not only the surface meaning of “separation” but the implied cultural meaning that “Ch’ ang-an got her share of property from Ch’ ang-pai” which is the hidden information the target language readers won’ t get if the translator did not take appropriate measures to make up for the difference of context.Therefore, in her translation process, Eileen Chang clarifies the cultural characteristics of the source language through the transformation of gender identity.<br /> <br /> '''2. The gender of the translator and the purpose of translation'''<br /> <br /> As a female translator, Eileen Chang’ s female thought is inevitably reflected in her process of translation. And in addition to some potential unconscious female thinking, it is believed that Eileen Chang's adoption of different gender identities is more consciously chosen according to her translation purpose. For example, in the translation of Jin Suo Ji, Eileen Chang translated from the perspective of her own or the gender identity of the opposite sex, with the ultimate purpose of expressing the struggle and survival of the female characters in the patriarchal society and expressing her lament for that era.<br /> <br /> On the other hand, in The Old Man and the Sea, Eileen Chang expressed her different understanding of this work in her translation preface: “The old fisherman showed astonishing perseverance in his struggle with the sea -- not superhuman, but a kind of grace and spirit due to all human beings.”Therefore, Eileen Chang, based on her understanding of the work, attempts to abstract the image of “old fisherman” into all mankind through her translation, and either from a female identity perspective, from a male perspective or conceal her gender identity in her translation the purpose is to soft the male discourse in the original text.<br /> <br /> '''Conclusion:'''<br /> <br /> Through this comparative study on Eileen Chang’ s self-translation and conventional translation, we can see that Eileen Chang, as a female translator, can not only translate feminine literature from a female perspective, but translate male literature from heterosexual gender perspective. On the other hand, in the same literary work’s translation, her gender identity is not fixed, for example, in translating the female literary, in order to better achieve the purpose of translation, the translator can translate from a male perspective. In a word, this thesis provides the corresponding empirical evidence for the fluidity of translator's gender identity, breaking the current situation that the research on Eileen Chang's translation mainly focuses on her feminism.<br /> <br /> '''参考文献'''<br /> <br /> [1]Chang Eileen, trans. The Golden Cangue. Twentieth-century Chinese Stories[M]. NY: Columbia University Press. 1971.<br /> <br /> [2]Simon, Sherry. Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London: Routledge, 1996.<br /> <br /> [3]马悦, 穆雷. 译者性别身份流动性 :女性主义翻译研究的新视角[J]. 解放军外国语学院学报. 2010(6): 66-70.<br /> <br /> [4]毛萍萍. 张爱玲《老人与海》译作中女性主义的东方色彩[J].大众文艺. 2018：171-173.<br /> <br /> [5]欧内斯特· 海明威. 老人与海[M]. 张爱玲译, 香港: 香港今日世界出版社. 1979.<br /> <br /> [6]王璟. 性别意识与文学翻译——张爱玲翻译个案研究[J]. 中国外语. 2011(8): 102-106.<br /> <br /> [7]王晓莺. 离散译者张爱玲的中英翻译——一个后殖民女性主义的解读[M]. 广州:中山大学出版社. 2015.<br /> <br /> [8]席培华. 浅谈语境文化对英美文学翻译的影响[J]. 黑龙江教育学院学报. 2017(10): 121-123.<br /> <br /> [9]张爱玲. 金锁记[M]. 上海印书馆. 1955.<br /> <br /> == Comparison between Nida and Newmark 李丽丽 Li Lili==<br /> <br /> <br /> Abstract<br /> Eugene Nida and Peter Newmark are famous representative of the Western linguists. Their translation theories are based on linguistics. Nida put forward the famous &quot;dynamic equivalence&quot; theory and &quot;functional equivalence&quot; theory, which has made outstanding contributions to the translation of the Bible. Newmark devoted himself to teaching, and put forward some famous theories such as semantic translation, communicative translation and relevance translation. Their translation theories have many similarities and differences. This paper will make a systematic comparison from the same and different points, and represent my own views on their advantages and disadvantages.<br /> <br /> Keywords: Nida; Newmark; similarities; difference<br /> <br /> 摘要<br /> 尤金·奈达和彼得·纽马克是著名的语言学家。他们的翻译理论建立在语言学的基础上，奈达提出了著名了“动态对等”理论和“功能对等”理论，为翻译《圣经》做出了杰出贡献。纽马克一声致力于教学工作，由此提出了著名的“语义翻译”，“交际翻译”，“关联翻译”等理论。他们的翻译理论有诸多相同之处和不同之处。本论文将从相同以及不同之处来进行系统综合的比较，并就其优缺点提出自己的看法。<br /> 关键词：奈达；纽马克；相同；不同<br /> <br /> ==A study on the division of western translation theories 刘柳 Liu Liu==<br /> <br /> ==A comparative study on the translation theory of Eugene. A. Nida and J. C. Catford 陈莎 Chen Sha==<br /> <br /> ==Comparison of translation theories--a case study of Liu Zhongde's translation theory(faithfulness,expressiveness and closeness) and skopos theory 肖伊宁 Xiao Yining==<br /> <br /> ==Comparison of Ezra Pound's and Wen Yiduo's Poetry Translation Principles 徐梦蝶Xu Mengdie ==<br /> &lt;center&gt;徐梦蝶 Xu Mengdie &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Ezra Pound is a representative poet and literary critic at the beginning of 20th Century in western literary world. Together with T.S. Eliot and other important literary figures, he started a new trend in poetry creation and study, and at the same period, China was also experiencing an essential transition from old style poetry to free verse written in vernacular language. Inevitably, associations were build between them. Wen Yiduo's poetic theory was thought to be heavily affected by Pound's but growing out of specific cultural and social background, Wen's theory still has his own features to be distinguished from Pound's.Therefore, it's necessary for us to distinguish these two theories so as to better comprehend both of them.<br /> This paper aims to analyse the differences and similarities between Ezra Pound's and Wen Yiduo's poetry translation theories from contrasts of their translation principles in rhyme, image and structure.<br /> <br /> ==='''Key words'''===<br /> Poetry translation; Wen Yiduo; Ezra Pound<br /> ==='''摘要'''===<br /> 20世纪初,在西方文学世界,埃兹拉·庞德是一位具有代表性的诗人和文学批评家。 他和艾略特以及其他重要的文坛人物一起开创了诗歌创作和研究的新潮流。在同一时期的中国，一场重要的文化运动也正在进行，即从旧诗向白话新诗的转变。这两场运动之间也难以避免地有所联系。人们认为闻一多的诗歌理论深受庞德的影响，但是考虑到闻一多诗歌理论诞生的文化和社会背景，该理论中许多观点和庞德的观点有类似之处和不同之处。因此，为了更好地理解两者，我们有必要进行对比研究。<br /> 本文通过对比分析闻一多和庞德在诗歌韵律，意象，结构三方面的翻译原则，来看两者观点的相同点和不同之处。<br /> <br /> ==='''关键词'''===<br /> 诗歌翻译理论； 闻一多；埃兹拉·庞德<br /> ==='''I.Introduction'''===<br /> 1. Research Background<br /> <br /> With the quick development, China begins to play a much more important role in global stage and naturally the need of recommending Chinese culture to the world has been aroused. From traditional Chinese literary creation to today's modern culture, there is a movement worthy of our attention, that is the vernacular writing movement. At the beginning of 20th century, China is urgently in need to open up and to learn from the western world and some extreme ideas even caused the division between Chinese classical literary composition and modern composition but at the same time Chinese traditional culture was revived by western scholars like Ezra Pound， Amy Lowell， and etc. Ezra Pound published ''Cathy''in 1915 and started imagist movement (1909-1917). Wen Yiduo is a representative of vernacular writing movement，whose first new poem composing might be ''A Rainy Night''(雨夜) and ''Moon and Men''(月亮和人) (闻黎明，2014) and he distinguished himself from the other representatives by his relative complete frame both in literary composition as well as in literary criticism. Besides, Wen Yiduo's personal painting learning experience and his contact with western poets at that time are materials also worthy of discussion.<br /> The reason why these two characters are chosen to be compared in this paper is because, first they lived at the same time period and were both involved in two important literary movements at that time; second, both of them interpreted and applied Chinese traditional poems in modern composition but in different ways. Therefore, comparison on their understandings of poetic translation is a way to comprehend the role of Chinese traditional culture in modern times and to get to know these two poets and translators better.<br /> <br /> 2. Research Method<br /> <br /> Close reading: this paper has collected relative works of Wen Yiduo and Ezra Pound and papers on them at first. By closing reading their works to understand their ways of poem composing and their principles of poetic translation. Works involved in this chapter are,''Complete Collections of Wen Yiduo''(闻一多全集), ''Biography of Wen Yiduo'', ''Cathy'' of Ezra Pound, and etc.<br /> <br /> Comparison study: since there some common points between these two poets and translators, comparisons are made between them to better distinguish them from their roles relatively in vernacular writing movement and in imagist movement as well as their roles in inheriting the old and making the new, and lastly on their poem translation theories.<br /> <br /> ==='''II.Literature Review'''===<br /> Wen Yiduo is widely studied as a new poet composer, painter,classical poetry researcher, as well as a revolutionist. Papers of Wen Yiduo focuse more on him as a poet composer, than on him as a translator and this chapter mainly studies on him as a translator with his poet identity as supplement.<br /> <br /> [[File:A.png]]<br /> <br /> Papers on Wen Yiduo have covered almost all subjects including his multiple identities as well as his further studies on traditional Chinese mythologies, classical poems etc.<br /> From 1970s to today, this chapter chose recent papers on Wen Yiduo as a translator, and we can see from this picture that study on Wen Yiduo continues to be a favor to scholars and in recent years even more papers were published on his translation principles. In 2005, a paper of Lv Jing is a watershed, for he announced a new age of modern metrical poem's coming. Wen Yiduo is a pioneer of metrical poem at the begging of 20th C but he's inevitably constrained by his time and with culture development, and now we are gradually entering a new era of modern metrical poetry(吕进，2005).<br /> Major works often cited by scholars and these two black dots are work of Qian Liqun's (钱理群等，1998) ''Chinese Literature in Recent 30 Years''(中国现代文学30年)and ''Collection on Translation Theories''(翻译论集：罗新璋等，1984)<br /> <br /> As for comparison between Wen Yiduo and Ezra Pound,there are 18 essays published in recent years found within China.<br /> [[File:8.png]]<br /> <br /> There are 18 papers in total and phrases mentioned the most often are &quot;Chinese new poetry&quot;, &quot;poem translation&quot;, &quot;the beauty of painting&quot;. Most of these papers study Wen Yiduo and Ezra Pound from the general comparison between two movements(vernacular writing movement and imagist movement) and there is only one paper directly compares them, which was written by Fu Jianan(傅建安) and Zhang Li（张立） in 2019. In this paper, the authors pointed out that Wen Yiduo was heavily influenced by Ezra Pound, which could be seen from his three principles of beauty: the beauty of music, the beauty of painting, and the beauty of architecture.Besides, they also believed that Wen Yiduo was affected by nationality and creativity of Ezra Pound.<br /> <br /> ===='''III.Discussion'''====<br /> Wen Yiduo is a representative poet and translator in China at the beginning of 20th Century. At that time, China was experiencing a social and cultural upheaval with collapse of the old and emerging of the new. Since Wen Yiduo was born in a family with avant-garde thoughts, he came to get revolutionary idea at an early age. Although Wen Yiduo didn't participate directly into May 4th movement, he demonstrated his firm support of students through a passionate patriotic poem. Clearly, Wen Yiduo's literary creation is indispensable from his social ideas. This could be revealed in his subjects of poems for instance, ''Songs of Seven Sons''(七子之歌), ''Song of the Sun''（太阳吟）, ''Silent Night''(静夜), and etc. As for his ideas in translation which are also closely associated with his understanding in poem composing, basing on his personal learning and experiences. <br /> Wen Yiduo had experienced several transition in his life in poem composing. He was first a poet of classical poems(1916-1925) and had works like, ''Ode on Horse''(马赋), ''Ode on Pine''（松赋), ''Spring Willow''（春柳),and etc. Later influenced by Hu Shi and vernacular writing movement, he devoted himself to new poem writing and criticized that classical poem shouldn't be composed and it should be totally abandoned (评本学年《周刊》里的新诗). After several tries in composing new poems, Wen Yiduo later arrived at America to continue his study on painting and literature. Here he had contact with Chicago poets and American Imagists and this was where his another transition occurred. He then again criticized Hu Shi's absolute abandonment of rhyme and rhythm and advocated to trace back to Chinese classical culture for nourishment and this was partly enlightened by his painting and classical poem study experiences in Chicago and after being back to China, he pioneered in creating metrical poems which associated western new poems' features together with image and structure of classical Chinese poems. He asked for beauty in music, beauty in image, and beauty in Architecture. His best work realized his principles could be seen in Dead Water(死水)(闻一多全集，1993).<br /> Ezra Pound had a same starting point of doing translation which is to find an answer to his epoch, to solve problems existing. He even leveled the importance of Confucianism to the height of Christianism which has unrivalled importance in Western culture. He believed that the &quot;order&quot; and &quot;benevolence&quot; mentioned by Confucius was exactly what was needed to conquer the social plight posed by industrialism, periodic economic crisis, isolation between human beings, and etc.(蒋洪新，2001) Ezra Pound denied that poem translation should be word-to-word translation but to maintain connotations behind it. He decided the name &quot;imagism&quot; for the writing movement in 1912 and later published ''Cathy''in 1915. He was delighted when he discovered Chinese character was full of beauty of images and classical poems like ''The Books of Songs''all could be a good source for imagist movement.<br /> In ''A Pact'', Pound compared Whitman as a father and himself was his son. Although he held some disagreements with his father,they two had to share the same root and sap.Whitman is like Hu Shi in China, who highlighted the importance of free expression, direct use of vernacular language, and relatively neglected the significance of structure, rhyme and rhythm. Wen Yiduo had also mentioned that he disagreed with Hu Shi's composition of absolute free verses in his ''Experiment''(尝试集). To Wen Yiduo, sound and music is what contained in words and only poem, this concise expression, can have more powerful emotions with their syllables. This is natural and artistic (《冬夜》评论).<br /> <br /> ====1. Contrast of Wen Yiduo's and Pound's principles in image translation==== <br /> <br /> Wen Yiduo started painting when he was young and he continued his study of painting in Chicago Academy of Fine Arts. All these experience provided him a chance to paint poems and he had unique understanding of images basing on his study on both classical Chinese poems and new poems. At the beginning of his composing of new poems, poems on nature took a great part of them. Yet he later found that his direct use of a lot of common images in classical poems made his poem too direct and superficial. He therefore decided to use more uncommon images.When he came to America and knew Chicago poets like Carl Sandberg as well as imagists like Amy Lowell, he was affected by their ideas in poem composing.Chicago poets use direct language and free verse to paint out the world in a vivid way. Images are important to Chicago poets but they put rhythm and rhyme in a non-essential position (焦建平，2001). Wen Yiduo therefore, at the earlier period of his poem composing, he paid great attention to image use and also disregarded rhythm and rhyme. Here we have one short poem of his earlier composition:<br /> <br /> 太阳辛苦了一天，<br /> 赚得一个平安的黄昏，<br /> 喜得满面通红，<br /> 一气直往山洼里狂奔。<br /> <br /> This excerpt was from one of his earlier vernacular poem and it's very direct and daily, yet lacking beauty in music, image, and depth, and he soon gave up this style. He agreed with Hu Shi's idea in liberating human mind by literature revolution, but he still enhanced the importance of literary form (北塔，2011). Wen Yiduo therefore, criticize Hu Shi's writing for lack of beauty in music and in image.As a translator, his principles of poem translation are heavily impacted by his identity as a poet. He believed that translator of poem should be a poet himself and the process of translation could be viewed as a process of recreation. Wen Yiduo compared poem composing as traditional Chinese painting; colors blending with colors create new harmonious image and words should be like colors (闻一多，1926). Take Wen Yiduo's poem ''Red Candler''as an example, he used the image of red candler to praise the spirit of selfless sacrifice and affirmed his belief in brightness. From Wen Yiduo's own writing, we could see the transition of his using color image, which shifted from bright ones to dim ones as we can discover from ''Red Candler'' (红烛), ''Reminicence of Chrysanthemum''(忆菊) and ''Color''(色彩) to ''Backwater''(死水). Images of colors in his poems are often studied by scholars. And it is taken as a clear combination of his idea of both painting and poetry composing. And as we've mentioned above that, Wen Yiduo's poetry contained his patriotic idea which is not only shown in subjects but also in his insistence on the form of poetry. As we can see in both ''Reminicence of Chrysanthemum''(忆菊) and ''Backwater''(死水), Wen Yiduo pursued a visual presentation of described pictures. Although Wen Yiduo had studied painting in America, he had shown more free hand sketch in his poem rather then western fine brush work.(辛春生，2011) All his principles in poem composition were applied to his translation later. Wen Yiduo asked for concrete image rather than mystery one which also coincides with Pound's idea. <br /> <br /> ''&quot;这种空空疏疏模模糊糊的描写法使读者丝毫得不着一点具体的印象，当然是弱于幻想力底结果。&quot;（《冬夜》评论）<br /> <br /> &quot;Don’t use such an expression as &quot;dim lands of peace.&quot; It dulls the image. It mixes an abstraction with the concrete. It comes from the writer’s not realizing that the natural object is always the adequate symbol.&quot;(A Few Don'ts by an Imagiste)''<br /> <br /> Ezra Pound can be taken as an orientalist for his love and study on eastern cultures. Before he came to know Chines, he was captured by the conciseness but rich connotation contained in Chinese traditional culture. His interests in Chinese traditional poems was started by ''A History of Chinese Literature ''(Herbert Giles) and later became addicted to it for Fenollosa's introduction of oriental art（郭为，1988). In the process of translating Chinese traditional poem he formed his poem composing principles. He believed that poem should not be written in superfluous words; abstraction should not be mixed with concrete natural symbols; and expressions should be polished with good ornaments.(Ezra Pound, A Few Don'ts by an Imagiste) Pound had many practices of image-using and he was known for his superimposition of images. <br /> <br /> “落叶依于重扃。（落叶哀蝉曲 刘彻）”&quot;A wet leaf that clings to the threshold.&quot; <br /> <br /> This sentence has well shown Pound's superimposition of images.Here &quot;wet leaf&quot; and &quot;threshold&quot; are two different images but the verb &quot;cling&quot; is used well to paint a picture of deep autumn and to arouse the feeling of departure. Even the leaf is hesitating of leaving, how about humans? Both &quot;fallen leaf&quot; and &quot;threshold&quot; are classical image used in Chinese poems. Pound chose concrete images to convey the abstract melancholy just as Chinese classical poem did. In ''Cathy'', ''The Beauiful Toilet'' has shown that Ezra Pound also had his own understanding of color image. &quot;Blue, blue is the grass about the river&quot;, &quot;White, white of face, hesitates, passing the door.&quot; There are 6 duplicated words in original poem but Pound only kept the duplicated form of color words &quot;青青&quot; and &quot;皎皎&quot;, which reflects his high attention to color image although he didn't mentioned that in his essay.<br /> <br /> Both Wen Yiduo and Ezra Pound drew nourishment from classical Chinese poems and attached great importance to image using. Yet, since Wen Yiduo had experiences as a painter, he was more sensitive to color images than Pound, though Pound also had his own preference to images. Therefore, we may assume that Wen Yiduo was affected by imagisma and by Ezra Pound but Wen Yiduo also had his personally preference and choice of image application basing on his understanding of classical Chinese poems and painting just as what was shown in ''Reminicence of Chrysanthemum''(忆菊). <br /> <br /> <br /> ====2. Contrast of Wen Yiduo's and Pound's principle in rhyme translation====<br /> <br /> Wen Yiduo composed poems in classical Chinese with traditional style at first, when he was at school. Later deeply affected by ideas of vernacular poem composing as highlighted by Hu Shi, he accepted that we should liberalize citizen's mind by freeing them from constraints of classical writing and shifted his composing from classical style to vernacular free verse.When Wen Yiduo started his new poem composing, he realized too direct an expression was would lose the hazy beauty. Different from Hu Shi, Wen Yiguo attached great importance to rhyme and rhythm of poems. This might have some association with his experience of Tang poem studies. He appreciated the beauty of classical poem and even believed that it's almost impossible for us to translate these poems into English, or it's a waste of classical poems. To translate Yuefu folksongs, free verse is thought to be the best choice to him, for their similarity in form and translator is given more space to think about rhyme (Wen Yiduo, 1926). As his comment on Shigeyoshi Obata's translation on Li Po's poems, Wen blamed the translator used free verse to translate Li Po's metrical poems.Because Wen himself is a big fan of Li Po, he denied that Li Po's grander style and imposing manner could be kept in free verses(黄焰结，2014). He then practiced his translation believes into his own writings. In the next year(1927), he translated a poem of John Masefield.<br /> <br /> Sea Fever<br /> by： John Masefield<br /> I must go down to the seas again, to the lonely sea and the sky,<br /> And all I ask is a tall ship and a star to steer her by,<br /> And the wheel's kick and the wind's song and the white sail's shaking,<br /> And a gray mist on the sea's face, and a gray dawn breaking.<br /> I must go down to the seas again, for the call of the running tide<br /> Is a wild call and a clear call that may not be denied;<br /> And all I ask is a windy day with the white clouds flying,<br /> And the flung spray and the blown spume, and the sea-gulls crying.<br /> I must go down to the seas again, to the vagrant gypsy life,<br /> To the gull's way and the whale's way, where the wind's like a whetted knife;<br /> And all I ask is a merry yarn from a laughing fellow-rover,<br /> And quiet sleep and a sweet dream when the long trick's over.<br /> <br /> 我要回海上去<br /> <br /> 我要回海上去，再回到荒凉的天涯海角，<br /> <br /> 我要求的是一只楼船，一颗星儿做她的向导，<br /> <br /> 还有龙骨破着浪，风声唱着歌，白帆在风里摇，<br /> <br /> 海面上一阵灰色的雾，一个灰色的破晓。<br /> <br /> 我要回海上去，因为那一阵潮水的呼声<br /> <br /> 是狂暴的呼声，嘹亮的呼声，你没有法子否认<br /> <br /> 我要求的是一个刮风的天儿，还飞着些白云，<br /> <br /> 再加上海水翻着浪花儿，海鸥也在叫你。<br /> <br /> 我要回海上去，再过那漂泊的生涯才好！<br /> <br /> 走上海鸥的道，鲸鱼的道，那里的风像把快刀；<br /> <br /> 我要的是做完了的活，大伙儿谈着天儿说着笑，<br /> <br /> 临了，来一场甜蜜的梦，一宿安稳的觉。<br /> <br /> John Masefield's Sea Fever is a rhymed poetry and Wen chose end rhymed to echo the original version, in order to achieve the musical beauty in poem. Besides a lot alliterations &quot;a star to steer/ a clear call,and etc.&quot; are used in the original poem to form the enormous power and repetition is another figure of speech in this poem, &quot;I must go down to the seas again&quot;, which could emphasize the poet's emotion.To maintain the original feature, Wen Yiduo kept the original repetition and parallels in translation. Wen Yidou thought that art is what human decoration plus natural beauty and in his translation, to achieve the parallel structure and concise expression, he had chopped off unnecessary conjunctions and shift the order of words coordination. For example, &quot;I must go down to the seas again, to the lonely sea and the sky,<br /> And all I ask is a tall ship and a star to steer her by,&quot; &quot;again&quot; this world was shifted into the latter part of the translation and &quot;lonely sea and the sky &quot; was translated as a Chinese four-character idiom &quot;天涯海角&quot;. &quot;To steer&quot; this infinitive was translated as a verb-object structure-&quot;做她的向导&quot; to ensure the balance of translation. Compared with the original version, we can discover the translated version even more concise and has clear beat to form the music. To form parallel structure and clear rhythm, Wen Yiduo had added some decorative elements or eliminate some unimportant elements to achieve his ideal music. “龙骨”，“风声”，“白帆”are words chosen by translator basing on original expression, in order to match both requirements of images and readability. “还”，“临了”，“天儿”， these are words added by transaltor which are rich in Chinese culture and are tainted by vernacular feature , which can help to achieve an effect of balance between loose and tense within poem. Wen Yiduo believes that poems should have multiple rhythms serving for one theme and this can help to catch reader's attention and arouse emotions. It's more natural and in this poem, it well conforms to the rhythm of waves(诗歌节奏的研究).<br /> Different from Wen Yiduo's insistence on the rhyme and rhythm of poems, Ezra Pound believed that &quot;It is not necessary that a poem should rely on its music, but if it does rely on its music that music must be such as will delight the expert.&quot; (Ezra Pound, A Few Don'ts by an Imagiste) Take ''The River-Merchant's Wife: a Letter''as an example, Pound translated Chinese poem more into a prose than a rhymed poem, and to this extent his emphasize is more on the other sides as what was said by himself that he agreed that music was important but he didn't take it as a priority. He believed that poems could be divided into three kinds, and poems of sounds is one of the three. Poems of sounds could be appreciated without translation for its musicality and it, to some extent is untranslatable. But he regarded images are conveyable and was devoted to it. <br /> Thus we can see, Rhyme and rhythm are as important as images to Wen Yiduo, for he thought these were also necessary ways to convey emotion and to arouse feeling. Wen Yiduo asked for not only beauty in image but also beauty in music and he showed no preference between these two, yet, to Pound, as what was said in ''A Few Don'ts by an Imagiste'', &quot;It is not necessary that a poem should rely on its music&quot;. Wen Yiduo attached so much importance to music, so that he once said some five-character quatrains of Li Po could not be translated into another language. For he believed that Li Po's five-character quatrains were ancient soul in modern cover with decorations. The beat and syllables form the imposing manner of his poem so once these verses were transplanted into another container, the favor might be lost. (英译李太白诗，1926)<br /> <br /> ====3. Contrast of Wen Yiduo's and Pound's principles in translation of architecture====<br /> <br /> Pound studied both Chinese poems and Japanese poems. Therefore the structure of his translations can often be traced back into parallelism of Chinese poem as well as the Japanese Haiku. <br /> <br /> In a Station of the Metro<br /> The Apparition of these faces in the crowd;<br /> Petals on a wet, black bough.<br /> <br /> This is one of Pound's most famous poems and Pound took it as his proud work of imitation of Japanese Haiku. However, some scholars hold a different view, like Wu Di, he thought this poem is more close to imitation of Chinese parallel sentence. He listed reasons as: First, there are parallel compositions like time and space and color contrasts of bough and petals. Second, Wu thought that metrical unit of this poem is &quot;word&quot;, which is distinct from &quot;syllable&quot; in English poems and Japanese Haiku. Haiku highlighted more artistic conception than metrical harmony.Besides, this poem paid more attentions to the notional words than functional words. (吴笛，2007)<br /> Pound's translation of poems are influenced by forms of folk songs, sonnets, Greek-style lyric poems, and elegy, etc. and it can be traced back to Provence love song, Japanese Haiku and Chinese traditional poetry.(王贵明，刘佳，2006) <br /> <br /> Wen Yiduo is the pioneer of new metrical poems in China and asked poets to learn from western metrics and combined it with Chinese traditional poems. He advocated that the highest form of art should be &quot;pure form&quot;. So he appealed to &quot;beauty of architecture&quot; and in Chinese architecture, balance is taken as beauty in tidy form which is also asked for in poem by him(陈历明，2016). Wen Yiduo once said that in Chinese aesthetic appreciation, balance was very essential, we could see it in both architectures and poems. Pattern, syntax, diction and coordination are elements required in a well composed poem. <br /> <br /> Thursday<br /> ——Edna St. Vincent Millay<br /> <br /> And if I loved you Wednesday, <br /> Well, what is that to you?<br /> I do not love you Thursday— <br /> So much is true. <br /> And why you come complaining <br /> Is more than I can see.<br /> I loved you Wednesday,<br /> —yes—but what Is that to me?<br /> <br /> 礼拜四<br /> 即使我礼拜三爱你，<br /> 你管它做什么？<br /> 礼拜四我并不爱你，<br /> 却一点也不错。<br /> 我真不懂，你何为还<br /> 找着我来纠缠。<br /> 礼拜三我爱你—对—<br /> 可是那与我又何干？<br /> <br /> This is a poem translated by Wen Yiduo which reflects his ideas in poem translation, especially in achieving beauty in architecture. First this poem consists of two stanzas and in each stanza, the second and the fourth lines are shorter than the first and the third lines. We can see that the translator maintained the original form of the poem into the translation but did a little alternation to achieve a better presentation. In this sentence, &quot;—yes—but what/Is that to me?&quot;, to balance the length of sentences, the translator shift the word &quot;—yes—&quot; into the verse before the last one, &quot;礼拜三我爱你—对—&quot; to match the number of words. Another instance in this poem is this sentence -&quot;And why you come complaining/Is more than I can see&quot;. To ensure the balance of two stanzas, the translator broke the sentence, &quot;你何为还找着我来纠缠&quot; into two verses,&quot;你何为还/找着我来纠缠&quot;. Besides, there is a semantic symmetry designed by the translator. There is no obvious transitional word before the last line of the first stanza but has a dash to indicate it, therefore the author added &quot;却&quot; to echo &quot;可是&quot; in the last line of the last stanza and replace the dash to achieve the balance in form as well as in meaning. All these efforts of the translator are devoted to achieve the aesthetic sense in architecture.<br /> In one word, both Wen Yiduo and Ezra Pound ask for beauty in form but they draw their nourishment from different places and have different focus, for example, Ezra Pound learned and composed Provence love poems and Japanese Haiku. In ''Cathy'', we can see that many classical Chinese poems were translated into prose which are more loose but in Wen Yiduo's translation, he highlighted the balance of structure and was stick to Chinese traditional sense of beauty in architecture. <br /> <br /> ====4.Conclusion====<br /> To sum up, Ezra Pound as a imagist had absorbed elements in Chinese traditional culture and reinterpreted Chinese images in his translation. What should be emphasized is that his understanding of Chinese poems and images come from Fenollosa's writing which is rewriting of Fenollosa's writing. In translation, Ezra Pound asked for artistic conception through image superimposition. And as for his form of translation, it's more loose than Wen Yiduo's for Ezra Pound though required order in literary works, he didn't take &quot;order&quot; as &quot;balance&quot;. His order may exist in his position of images but it does not have to be balance in number of words or pattern of expressions. Being a fan of Li Po, Wen Yiduo even though influenced by vernacular writing movements, Chicago poets and imagist movements, he advocated the importance of form and highlighted artistic feature of poems, the metric, which was a combination of the old and the new. <br /> Basing on comparisons of Ezra Pound and Wen Yiduo in these three aspects, we come to know that Wen Yiduo was influenced by imagist movement and he did pay high attention to image-using later in his works but Wen Yiduo's literary understanding should also be attributed to his personal growing background, China's social environment at that time and his life experience. Before his identity as a poet, he is a patriotic citizen. Wen Yiduo's literary works have a solid patriotic foundation and that's why he always tried to maintain Chinese traditional culture and spread Chinese culture through literary creations. This explains elements of Chinese traditional painting and Chinese aesthetic sense of architecture in his poems as well as specific Chinese images contained in his poems like chrysanthemum, candler, red bean, etc. We shall better say that Wen Yiduo and Ezra Pound are two poets and translators born in a similar social environment rather than saying one is totally the other's imitator. Since they two have their unique culture background and are both passionate lover of Chinese poems, they naturally share some common features in literary presentations but there are also distinctions reflecting their own culture identity like we can discover in both their compositions and translations.<br /> <br /> ==='''V.Reference '''===<br /> <br /> Ezra Pound. Cathy. London: Elkin Mathews, Cork Street Mcmxv.<br /> <br /> 北塔.略论闻一多诗歌之英文翻译[J].中国现代文学研究丛刊,2011(12):97-108.<br /> <br /> 陈历明.闻一多的诗歌翻译与格律诗学的生成[J].文艺理论研究,2016,36(01):64-75.<br /> <br /> 郭为.埃兹拉·庞德的中国汤[J].读书,1988(10):104-110.<br /> <br /> 蒋洪新.庞德的翻译理论研究[J].外国语(上海外国语大学学报),2001(04):77-80.<br /> <br /> 焦建平.卡尔·桑德堡与“意象主义”[J].西北大学学报(哲学社会科学版),2001(04):134-137.<br /> <br /> 黄丽娜. 闻一多诗歌翻译研究[D].湖南师范大学,2013.<br /> <br /> 黄焰结.英译李太白——闻一多与小畑薰良译诗对话的文化考量[J].外语教学与研究,2014,46(04):605-615+641.<br /> <br /> 吕进.三大重建:新诗,二次革命与再次复兴[J].西南师范大学学报(人文社会科学版),2005(01):130-135.<br /> <br /> 孙党伯 袁春正，闻一多全集. 武汉：湖北人民出版社 1993.12<br /> <br /> 吴笛.论庞德“在地铁车站”中的汉诗特性[J].外国文学研究,2007(05):53-57.<br /> <br /> 王贵明,刘佳.今韵古风——论埃兹拉·庞德诗歌翻译和创作中的仿古倾向[J].北京理工大学学报(社会科学版),2006(06):79-85.<br /> <br /> 闻黎明，闻一多年谱. 北京：群言出版社 2014.11<br /> <br /> 辛春生.闻一多《忆菊》诗的绘画美新探[J].名作欣赏,2011(35):28-29.<br /> <br /> ='''Theories'''=<br /> <br /> <br /> ==Passive and hypotaxis- Chinese Culture and CE translation 杨海容 Yang Hairong==<br /> ===1.Concepts of Passive in Chinese and English===<br /> <br /> ==On metaphors 游雨婷 You Yuting==<br /> <br /> ==The Brief Introduction of Linguistic School and its Representatives 王源 Wang Yuan==<br /> <br /> ==Polysystem and Cultural Turn 吴琪 WuQi==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ='''Translation Aesthetics'''=<br /> <br /> <br /> ==Aesthetic Representation of Two Versions of Wang Wei's ''Niao Ming Jian'' from the Perspective of Translation Aesthetics 凌子瑾 Ling Zijin==<br /> &lt;center&gt;凌子瑾 Ling Zijin &lt;/center&gt;<br /> ===Abstract===<br /> Wang Wei is a master of landscape poetry, and his poems have important aesthetic value. ''Niao Ming Jian'' is a representative work of his landscape poetry, which has a relatively high aesthetic significance. Aesthetic reproduction is an important factor to judge the success of a translation. Based on Liu Miqing's theory of translation aesthetics, this paper makes a comparative analysis of the two English translation versions of ''Niao Ming Jian'' to explore how these two translators make the aesthetic elements in the source text reproduced in the target text.<br /> <br /> ===Key words===<br /> Translation Aesthetics; Aesthetic Representation; Poetry Translation; Comparative Study<br /> ===摘要===<br /> 王维是山水诗的集大成者，其诗歌具有重要的美学价值，《鸟鸣涧》是王维山水诗中的代表作品，具有较高的美学研究意义。审美再现是评判译文是否成功的重要因素。本文从刘宓庆的翻译美学理论出发，对《鸟鸣涧》的两个英文译本进行对比分析，探究不同的译者是如何使得原文中的美学要素在译文中得到再现的。<br /> ===关键词===<br /> 翻译美学；审美再现；诗歌翻译；对比赏析<br /> ===1.Introduction===<br /> With the increasingly close communication between China and the international community, the translation of poetry has become an important part of telling Chinese stories. Translation is the basis for the international dissemination of literary works. Translation is one of the ways of information transmission, which is not only a technology, but also an art. Poetry itself is a literary and artistic form with aesthetic thoughts. Due to the close relationship between poetry translation and beauty, whether the translation can convey the beauty of the original poem has become the main criterion to judge whether the translation is good or not. On this point, Liu Miqing proposed translation aesthetics and systematically explained this subject in his An Introduction to Translation and Aesthetics. He incorporated aesthetics into translation and proposed to reproduce the beauty of the original text in translation.<br /> Inheriting from Tao Yuanming and Xie Lingyun and laying a foundation for the landscape poetry in Song Dynasty and Yuan Dynasty, Wang Wei's landscape poetry represents the highest achievement of landscape poetry in the flourishing Tang Dynasty. In the history of the development and the aesthetic formation of Chinese classical poetry, it has an influence and status that cannot be underestimated. ''Niao Ming Jian'' is the representative work of Wang Wei's landscape poems, so its aesthetic value is self-evident. Written in the stable and unified Tang Dynasty, this poem focuses on the tranquil beauty of the spring mountain at night. In this poem of Wang Wei, you can not only see the charming environment of the spring mountain dotted with bright moon, falling flowers and birds, but also feel the peaceful and stable social atmosphere of the Tang Dynasty.<br /> Both Yang Xianyi and Xu Yuanchong have made great contributions to translation studies. The two translators are recognized for their translation skills, but they have different views on literary translation, which can be seen from the comparative study in chapter 4. From the perspective of translation aesthetics, this paper takes ''Niao Ming Jian'' and its two English versions as research objects to explore how the two translators realize the aesthetic representation of the Chinese version in their English translation.<br /> ===2.Translation Aesthetics===<br /> In the history of Chinese literature, the earliest development of translation aesthetics can be traced back to the time of the Three Kingdoms. At that time, someone proposed that &quot;it is necessary to follow the essence without decorations&quot;. Up to now, there have emerged such related aesthetic translation theories as &quot;faithfulness, expressiveness and elegance&quot;, &quot;spirit likeness&quot; ,&quot;delivering&quot; and “principle of three beauties” . In A Dictionary of Translation Studies of Fang Mengzhi, translation aesthetics is defined as: revealing the aesthetic origins of translation studies, discussing the special significance of aesthetics to translation studies, interpreting the scientific and artistic nature of translation with the aesthetic point of view, putting forward standards of beauty in translating texts with different style using the basic principle of aesthetics, analyzing and solving the aesthetic problem in dealing with interlingual transference.Translation aesthetics is the marriage of translation and aesthetics. Almost all traditional translation theories in China are related to aesthetics, and translation aesthetics is one of the basic characteristics of Chinese translation studies. Based on Chinese traditional aesthetics, translation aesthetics, starting with the aesthetic subject and object of translation, not only emphasizes the aesthetic information on the level of sounds and words, analysis of the rhythm, rhyme and translation methods, but also explores the aesthetic factors of emotion, aspiration, meaning and image in the non-formal system, thus laying a practical theoretical foundation for translation aesthetics. From the perspective of translation aesthetics, the purpose of translation is to achieve aesthetic representation between languages. Translation is an artistic experience of perceiving, understanding, transforming and reproducing the aesthetic information of the translation object (source language).<br /> The concept of translation aesthetics was put forward by Professor Liu Miqing in 1994. At first, it combined aesthetics and translation to examine the aesthetic feeling of ancient poetry translation. In An Introduction to Translation and Aesthetics, Liu Miqing specifically explains the general process and specific strategies of translation aesthetics. According to Liu Miqing, &quot;the theories and propositions of traditional Chinese translation theory are basically derived from Chinese classical philosophy and aesthetics, especially classical literature and art&quot;. In addition, he also stressed that &quot;theoretical proposition and methodology of Chinese translation theory can be traced back in Chinese classical philosophy and aesthetics.” The aesthetics as the theoretical basis of translation, not only pay attention to the correspondence at the language level, but also the correspondence of the beauty represented in the target text and that in the original text, in order to show the beauty of the original text as possible.<br /> Translation aesthetics holds that translation contains the aesthetic subject and aesthetic object. The aesthetic subject refers to the reader and translator of the text, while the aesthetic object refers to the target language text and the source language text. By subjectively transforming the source text, the aesthetic subject maximizes the aesthetic value of the source text into the target text in the process of transforming one language text to another, so as to ensure that the aesthetic elements in the source text can be reproduced in the target text. In An Introduction to Translation and Aesthetics, Liu Miqing divides aesthetic object into formal system and non-formal system, that is, aesthetic appreciation of the linguistic form of the original text and the emotion expressed in the text. The beauty in the linguistic form (including pronunciation) of the original text is aesthetically called the beauty in the form of material existence, which is usually &quot;intuitive and sensible&quot; and generally appeals to people's vision and hearing. In the aesthetic composition of the original text, what opposed to the representational elements is the non-representational elements. The non-formal beauty of the original language has no direct relationship with the language form, and it is usually non-intuitive. Because it is not directly reflected in the structure and form of words, sentences and sentence groups, it is usually &quot;uncounted&quot;, which is called &quot;non-quantitative factor&quot;. The aesthetic composition of linguistic forms can often be counted, such as the number of parallel sentences, rhymes and figures of speech in a paragraph. Generally speaking, it can be counted to obtain a number, the non-formal beauty of language can not. It is impossible for us to get any quantitative results after analyzing the temperament of a text, such as artistic conception, beauty, momentum, modality, charm, style and so on. But these elements are crucial to the aesthetic value of a text. In short, from the perspective of aesthetics, these non-formal aesthetic compositions of a language is called non-quantitative obscure collection. In Chinese classical poetry, the concentrated expression of this collection is artistic conception.<br /> The &quot;representation&quot; of aesthetic representation is to transform the source language into the target language, and the aesthetic representation is to transform the beauty of source language into the beauty of the target language. The essence of the representation in the art of translation is to transform the introspective understanding of the source language text (SL) into an explicit and intuitive form (TL), that is, to find the best artistic expression form for the source language.<br /> ===3.Appreciation of ''Niao Ming Jian''===<br /> The original text of ''Niao Ming Jian''<br /> <br /> 人闲桂花落，<br /> <br /> 夜静春山空。<br /> <br /> 月出惊山鸟，<br /> <br /> 时鸣春涧中。<br /> <br /> The main idea of this poem is: in this quiet place, sweet osmanthus flowers gently fall in the quiet night, making the spring forest more empty and quiet. As the moon rose, it made the birds who was perching among the trees to sing, with their crisp calls reverberating through the open mountain stream. This poem is supposed to be written between 713 and 741 ( The Flourishing Kaiyuan Reign Periond of the Tang Dynasty), when the poet was in a trip to the regions near the Yangtze River. This poem is the first of five poems written by Wang Wei in yunxi Villa where his friend Huangfuyue lived. It is the work about the poet’s life in Wuyunxi (namely Ruoyexi), southeast of Shaoxing County. The poem describes the quiet and beautiful scenery in the mountain on a spring night, and focuses on the tranquility and calmness of the spring mountain at night. The whole poem is intended to highlight the tranquility, but Wang Wei treated it by moving scenes. This kind of technique of contrast shows the poet's meditative mind to a great extent.<br /> &quot;人闲桂花落，夜静春山空&quot; is the poet’s depiction of scenery by sound, which skillfully uses the technique of synesthesia to combine the dynamic scene “花落” and &quot;人闲&quot; together. Both the blossom and fall of the flowers belong to the sound of nature. Only people who let their hearts really free down, put down the sincere infatuations to worldly thoughts can promote their spirits to a state of “空”. It was late at night, obviously the viewer could not see the falling scene of osmanthus, but because of the &quot;夜静&quot; and the calmness of heart of the viewer, he can still feel the blooming osmanthus falling off the branches, floating down and landing. And we readers also seem to have entered a &quot;fragrant forest and flower rain&quot; scenery. The &quot;春山&quot; here also leaves room for us to imagine, because it is &quot;春山&quot;, we can imagine the noisy picture of the day: singing birds, green trees, lovely flowers, children’s laughter and so on. When night falls, the environment becomes quiet, the tourists leave, the daytime noise disappeared, the mountains are empty. In fact, &quot;空&quot; not only refers to the empty of the mountain, but also the heart of the poet because only people who have free and easy mood can capture the scene that others can not feel. The last two lines “月出惊山鸟，时鸣春涧中” describe a dynamic scene to highlight the quietness of the mountain stream. “惊” and “鸣” seem to break the tranquility of the night, but in fact serve as a foil to describe the empty and leisure in the mountain by sounds. The moon emerges behind the clouds, quiet moonlight streams down, a few birds awake from their sleep and twitter from time to time. These beautiful things, with the spring streams running in the hill, put a colorful picture in front of the reader and has the similar effect with the &quot;蝉噪林逾静，鸟鸣山更幽&quot; of Wang Ji(a poet of Liang Dynasty). The birds, of course, accustomed to the silence of the mountain, seemed to have a kind of freshness and excitement when the moon rises. But the brightness of the moon changes the landscape immediately before and after its rise. The so-called &quot;月明星稀，乌鹊南飞&quot; (from ''Duan Ge Xing'' of Cao cao) is available for readers to associate. But Wang Wei was in the heyday of Tang Dynasty, which was different from the chaos of war in the Jian 'an Period in which even birds and animals could not help feeling nervous. The background of Wang Wei's &quot;月出惊山鸟&quot; is a stable and unified society in the prosperous Tang Dynasty. Although the birds suffer from shock, it is by no means the kind of shock like &quot;绕树三匝，无枝可依&quot;. They will not fly out of the spring stream, or even take off at all, but occasionally chirp among the trees. &quot;时鸣春涧中&quot;, they are not so much &quot;startled&quot; as feel fresh to the moon. Therefore, if we compare ''Niao Ming Jian'' to Cao cao's ''Duan Ge Xing'', in Wang Wei's poem, you can not only see the charming environment of the spring mountain dotted with the bright moon, falling flowers and birds, but also feel the relatively more peaceful and stable social atmosphere of the Tang Dynasty.<br /> In his landscape poems, Wang Wei inclines to create a quiet atmosphere, which is also true of this poem. But what this poem is about is the falling of flowers, the rising of the moon and the singing of birds. These moving scenes not only make the poem full of vitality but also highlight the tranquility of the spring stream by dynamic scenes. Moving scenes, on the contrary, have a static effect, because the two sides of an object in conflict are always interdependent. Under certain conditions, the reason why movement can occur, or can be noticed by people, is based on the premise of static environment. &quot;鸟鸣山更幽&quot;can be seen as an entity containing dialectics of art.<br /> ===4.Appreciation of Two English Versions of ''Niao Ming Jian''===<br /> (1) The Gully of Twittering Birds <br /> <br /> Yang Xianyi<br /> <br /> Idly I watch the cassia petals fall;<br /> <br /> Silent the night and empty the spring hills;<br /> <br /> The rising moon startles the mountain bird<br /> <br /> Which twitter fitfully in the spring gully. <br /> <br /> (2)The Dale of Singing Birds<br /> <br /> Xu Yuanchong<br /> <br /> I hear osmanthus blooms fall unenjoyed;<br /> <br /> When night comes, hills dissolve into the void.<br /> <br /> The rising moon arouses birds to sing;<br /> <br /> Their fitful twitter fills the dale with spring．<br /> <br /> ====4.1 Formal System====<br /> The formal system of poetry mainly consists of rhyme and form, an audible one and a visual one, both of which are objective and perceptive. The existence of the formal system is the basis for poetry, that is, the reason why poetry is poetry rather than any other literary genre is that it has its own unique formal system. Therefore, most translators advocate translating poetry into poetry in order to represent the beauty of the poetic form. Below, the author will appreciate the two English versions by Yang Xianyi and Xu Yuanchong from the two aspects of rhyme and form.<br /> =====4.1.1 Beauty of Rhyme=====<br /> Zhu Guangqian thinks that &quot;poetry is a pure literary form with melody&quot;. In literary works, especially in poetry, sound is the most basic unit of delivering aesthetic value. Although the translator cannot find the phonetic rules corresponding to Chinese poetry in English language, he can reproduce the &quot;phonetic beauty&quot; of the original poem by using English language rules. The beauty of rhyme in poetry mainly includes the beauty of rhythm and rhyme. First of all, in terms of rhythm, the original poem basically conforms to the basic meter of rhythmic poetry. In Yang Xianyi's translation (hereinafter referred to as translation 1), the rhythm of the poem is roughly as follows:<br /> <br /> /--/--/-/-/（11） /--/--/--/-（11）<br /> <br /> -/-//--/-/（10） -/-/--/-//-（11）<br /> <br /> In dealing with each line, translator basically take the trochaic form. Although its antithesis is not neat but it is easy to read, largely represents the musical aesthetic feeling of the original poetry. Besides, the trochaic rhythm can give readers a kind of feeling that firstly there is a sound, and then fell silent, which is in accordance with the tranquil atmosphere in Niao Ming Jian. The rhythm of Xu Yuanchong's translation (hereinafter referred to as translation 2) is roughly as follows:<br /> <br /> -/-/-/-/-/（10） -/-/-/-/-/（10）<br /> <br /> -/-/-/-/-（9） -/-/-/-/-/（10）<br /> <br /> The translator adopts iambic pentameter to translate the poem, which has a strong sense of rhythm and can be called as a standard English metrical poem. In terms of the representation of rhythm, both translation 1 and translation 2 are well done, while the rhythm of translation 2 is more in line with the characteristics of the original poem, so translation 2 is better.<br /> The rhyme in poetry is an important factor at the level of rhythmic beauty. Rhyme can make the rhythm of a poem produce harmonious auditory aesthetic satisfaction. In terms of rhythm, the original poem strictly adheres to the rhyming rules of Lüshi (poetry). The rhyme at the end of the second and fourth lines is used to create a echoing effect of distant bells in the mountains, making the mountain seem more empty and lonely. In translation 1, the translator uses many assonance in his lines, such as &quot;silent&quot;, &quot;night&quot; in the second line; &quot;Fitfully&quot; and &quot;gully&quot; in the fourth line. The translator also used alliteration, such as &quot;idly&quot;, &quot;I&quot; in the first line; &quot;moon&quot;, &quot;mountain&quot; in the third line. However, translation 1 does not rhyme at the end of the line. It has the advantage of being free from the restrictions of meter and the language is accurate and fluent. But it also has disadvantage that it loses the beauty of rhyme to some extent. As for the translation 2, we can find the end rhyme of the translation 2: /d/ in the first and second line; /ing/ in the third and fourth line. And the rhyme scheme of this translation is aabb. This scheme type can convey the rhythmic beauty of Chinese traditional poetry for its end rhyme is complete. In addition, the first two lines of poetry end with a phone /d/, giving us a feeling of an abrupt stop. The last two lines end with/ing/, leaving a sense of melody for the reader, which is in line with the /ong/ rhyme in the original poem. It can be said that in terms of conveying the rhythmic beauty of the original poem, translation 2 not only represents the original poem, but also makes the target text sounds better than the original one. Therefore, compared with translation 2, translation 1 is slightly inferior in representing the rhythmic beauty of original poem.<br /> =====4.1.2 Beauty of form=====<br /> Liu Miqing (2005) believes that the beauty of symmetry and antithesis in Chinese classical literature can be called &quot;The elegance of Beauty&quot;, which is unique to Chinese. Externally, the four lines of the original poem, with five words in each line, form regular rectangles. From the inside, we can see that the first line and the second line form a parallel structure: “人闲” and “夜静”; “桂花” to “春山”; “落” to “空”. Antithesis constitutes the important factor of the beauty at the level of the form.<br /> The beauty of the translated poem at the level of form is that its words and sentences are in accord with the length and symmetry of the original poem in antithesis and meter. In the translation 1, the number of words in each line is 7, 8, 7,and 7. In translation 2, the number of words in each line is 6, 8, 7 and 8. Both versions conform to the formal characteristics of the poem. From the appearance of the two translations, both of them have achieved the demand to translate poetry by poetry ,representing the formal characteristics of the original poem; In terms of syllables, the number of syllables in each line of translation 1 is 11, 11, 10 and 11. The number of syllables in each line of translation 2 is 10, 10, 9 and 10. Both of the form of the two translations are in compact structure, thus achieving the representation of beauty of the original poem. In addition, the third and fourth lines of translation 2 adopt parallel structure, which to some extent represents the antithesis beauty of the original poem.<br /> ====4.2 Non-formal System====<br /> The non-formal system of poetry is mainly embodied in the artistic conception of poetry. Artistic conception is an important category in Chinese poetics. Artistic conception consists of two aspects: meaning and context. Meaning refers to subjective thoughts and feelings, while context refers to objective life and scenery. In artistic works, meaning and context blend together to form artistic conception. The conveying of artistic conception is directly related to the intuitive and sensible overall linguistic image, but the essence of its beauty is not intuitive and sensible. It usually comes from the feeling, ambition, intention of the artist and the overall artistic beauty of the work, which can easily remind us of the so-called &quot;不著一字，尽得风流&quot;. In poetry, the meaning that a poet wants to express is often conveyed through the images in ancient poems, which are either embodied in scenery or embodied in things. Therefore, when translating Chinese ancient poems, finding the right images is the key point to catch the artistic conception of the whole poem. In order to achieve the aesthetic representation of artistic conception in the translated poem, the translator's poetic sentiment, knowledge of literature and language skills are indispensable. Sometimes the inaccurate translation of a word will change the whole artistic conception and cause the translation to deviate from the original text. In the process of translating poetry, the representation of rhyme and form is the basic step, and that of artistic conception is the completion of the task of translating poetry.<br /> =====4.2.1 Beauty of artistic conception=====<br /> Yang Xianyi and Xu Yuanchong, the translators of the two translations selected in this paper, have different views on the transfer of the beauty of artistic conception. When talking about the principle of literary translation, Yang Xianyi points out that the general principle is that the content of the original text should not be increased or decreased. He has emphasized the principle of faithfulness for many times, saying that &quot;the translation must be very faithful to the original one&quot;. He doesn't think the translator should explain too much when translating. The translator should try to be faithful to the image of the source text, neither exaggerating nor carrying anything else with it. If there is no equivalent in translation, some of the meaning of the original must be sacrificed. Xu Yuanchong, on the other hand, believed that among the beauty of sound, form and meaning, meaning was the most important, followed by sound and form. Translators play two roles in the process of translation: text reader and text producer. Translators must give full play to their subjectivity on the basis of a deep understanding of the content and aesthetic value of the original text, and creatively reproduce the verve and artistic conception of the original text, so that the readers of the translated text can truly experience the beauty in reading. In the following, the author will start from the title and analyze the two translators' representation of the artistic conception of the original poem.<br /> The title of the original poem is &quot;鸟鸣涧&quot;, which is a modifier-head structure. In this structure, &quot;鸟鸣&quot; modifies &quot;涧&quot;. This structure emphasizes the static state of the noun &quot;涧&quot;. Translation 1 and 2 respectively translate the title as two noun phrases &quot;The Gully of Twittering Birds&quot; and &quot;The Dale of Singing Birds&quot; , which are similar to the modifier-head structure of the original poem. The head nouns &quot;The Gully&quot; and &quot;The Dale&quot; are modified by &quot;of Twittering Birds&quot; and &quot;of Singing Birds&quot;, highlighting the quiet state of the mountain, which conforms to the artistic conception of the original poem. Two title is identical structurally, but differ in the words used. The translation 1 translates &quot;涧&quot; as &quot;gully&quot;, which the Oxford Advanced Learner's English-Chinese Dictionary (hereinafter referred to as &quot;the dictionary&quot;) interprets as: &quot;a small, narrow channel, usually formed by a stream or by a rain&quot;. &quot;涧&quot; in the Xinhua Dictionary is defines as a gutterway in the mountain, so the translation 1 corresponds to the original poem; Translation 2 translates &quot;涧&quot; into &quot;dale&quot;, which is defined as &quot;Valley, ESP, in Nortern England&quot; in the dictionary. But &quot;涧&quot; in original poem just refers to an ordinary mountain stream, which is still far from a dale. Then is the translation of &quot;鸟鸣&quot;, defined in the dictionary as &quot;when birds twitter, they make a series of short high sounds&quot;; Translation 2 translates &quot;鸟鸣&quot; as &quot;singing&quot;. Translation 1 uses onomatopoeia to translate it, which is more vivid in sensory image; While translation 2 uses personification to highlight the melody of bird songs, which brings people a more graceful feeling and a more harmonious artistic conception. It can be said that translation 1 adopts literal translation while translation 2 adopts free translation. Although both of them can reflect the activity of bird, translation 2 compares it to singing, on the basis of being faithful to the original text, adds a more poetic aesthetic feeling from the aesthetic point of view, and the images described are more easily accepted by readers.<br /> Next comes the translation of the poem's first line. First of all, in terms of the treatment of &quot;人&quot;, both translation 1 and translation 2 add the subject &quot;I&quot; to translate &quot;人&quot; into the poet himself, because Chinese sentences do not necessarily have the subject while English must indicate the subject. Although it is difficult to achieve complete equivalence, it is also a relatively reasonable translation method. On the translation of &quot;闲&quot;, translation 1 cut to the chase, using the word &quot;idly&quot; indicates that the state of the viewer, it is in line with the original text in the idle state of mind; Translation 2, which puts &quot;unenjoyed&quot; at the end of the line, meets the need of rhyme but adds translator's creative content. But there is not unenjoyed feeling in the original poem, so translation 1 is better here. Next, on the translation of &quot;桂花&quot;, two translation appear difference. In translation 1, &quot;桂花&quot; is translated into &quot;cassia petals&quot;. The author looked it up in the dictionary and discovered that its meaning is the petal of cinnamon tree; in translation 2 it is translated into &quot;osmanthus blooms&quot; , which is almost synonymous to the translation 1. Both translation 1 and translation 2 take the same way to translate it, that is, using the proper noun. As for the &quot;桂花&quot; in this poem, scholars have different explanations. One explanation is that there are different kinds of &quot;桂花&quot;, such as spring flowers, autumn flowers and perpetual flowers. What is written here is a kind of spring flowers. Another view is that literary and artistic creation does not necessarily follow life. It is said that the painting by Wang Wei called Yuan An Lying in the Snow has green plantains in the snow. Things that cannot appear together in real life are allowed in literary and artistic creation. However, this poem is one of five poems that written for his friend's house. Each of these five poems is written in a realistic way, which is similar to the landscape painting. Therefore, it is reasonable to translate &quot;桂花&quot; to the osmanthus that blossoms in spring. However, in English, there is not so fine classification of osmanthus, so it is difficult to find a counterpart. The two translators have tried their best to translate it, and their translations of &quot;桂花&quot; are understandable. In addition, it should be noted that the way the two translators deal with the connection between the viewer and osmanthus. Translation 1 uses &quot;watch&quot; to see the flowers falling down, while in translation 2, the word &quot;hear&quot; is used, which is different from the usual setting of appreciating flowers and is the result of the translator's thoughtful and creative translation. Hearing the sound of falling petals can better reflect the empty of the poet's heart than seeing, thus better representing the tranquility of the mountain stream.<br /> Translation 1 Adopts the parallel structure when translating the second line, using the literal translation method to combine the silent night with the empty mountain stream. It is a static description without the description of the sequence of the events, reproducing a kind of vague beauty; in translation 2, &quot;夜静&quot; and &quot;山空&quot; are in time sequence, belongs to the dynamic description, showing the night's coming and the mountain becomes silent. The stationary state in the original poem becomes a process from a dynamic situation station to static one, successfully represent the hidden grammatical relations in the original poem. Therefore, for the transltion of the second line, both the two translators have strong point.<br /> In the translation of the third line, the translation of &quot;惊&quot; is of great importance for it serves as a key to show the skills of polishing words of Wang Wei. In translation 1, it is literally translated into &quot;startles&quot;, which means&quot;cause a person or animal to feel sudden shock or alarm&quot; in the dictionary. But are birds really startled? According to the appreciation of the original poem in the last chapter, the birds are not startled but only disturbed by the moonrise. &quot;Startles&quot; here is somewhat abrupt and the beauty of the original poem is not respresented, so it is not an appropriate translation; Xu Yuanchong translates it into &quot;arouses&quot;, which is defined as &quot;evoke or awaken a feeling, emotion, or response”in the dictionary. Compared to the translation 1, translation 2 is not only more natural but also gives the reader a sense of harmony between human and nature.<br /> The last is the translation of the fourth line. The two translations are basically the same in terms of words and translation methods, except the difference in sentence pattern. The translation 1 uses a non-restrictive attributive clause to combine the third line and the fourth line together, which means that the translator deal with the &quot;月出&quot; and &quot;鸟鸣&quot; as two simultaneous events, that is to say, there is no sequence between the moonrise and bird's singing, which is inconsistent with the original poem. The translation 2 deals these two lines with two sentences, perfectly embodying the relationship between the rise of the moon and the song of birds, which fits well with Wang Wei's state of &quot;painting in poetry, poetry in painting&quot;.<br /> <br /> ===5.Conclusion===<br /> <br /> By analyzing the above two translations, the author finds that Yang Xianyi attaches importance to form and Xu Yuanchong to meaning in poetry translation. Yang Xianyi prefers literal translation while Xu Yuanchong prefers free translation. In terms of formal system translation, Yang Xianyi's grasp of the beauty of rhyme is a little bit inferior to that of Xu Yuanchong, but in terms of the grasp of antithesis in poetry, both translators have demonstrated exquisite translation skills, each with its own advantages. Therefore, it can be seen that the mastery of source language and target language is very important in translation. In terms of the translation of non-formal system, namely artistic conception, both translators represent the image beauty of the original poem to a large extent, but Xu Yuanchong's translation is better because Yang Xianyi uses more literal translation, which is slightly rigid. Xu's translation is more cohesive and readable, giving people a dynamic and harmonious aesthetic feeling.<br /> Although there are differences between Chinese and Western cultures, a good translation can still represent the appearance, scenery and feelings of the original poem. From the perspective of translation aesthetics, the combination of literal translation and free translation is necessary in order to realize the aesthetic representation of poetry in translation. In terms of translation, both formal system and non-formal system should be taken into account to represent the beauty of poetry in sound, form and meaning. This also gives the corresponding aesthetic requirements for the translator, the translator must constantly improve their language skills and appreciation ability, in order to achieve continuous breakthroughs in aesthetic representation.<br /> <br /> ==='''Reference '''===<br /> <br /> [1]陈洁.王维山水诗的意境美[J].宁波教育学院学报, 2015(4):52.<br /> <br /> [2]方梦之.译 学 词 典[M].上 海:上海外语教育出版社, 2004: 296.<br /> <br /> [3]黄婧，李仕俊. 从翻译美学角度对比《鸟鸣涧》四种译文[J]. 外语, 2010(31): 130.<br /> <br /> [4]劳琴姚，罗正婷.翻译美学视角下审美效果的再现——以《醉翁亭记》两译本为例[J]. 安徽文学, 2017(9):49-51.<br /> <br /> [5]刘宓庆.翻译美学导论[M].北京：中国对外翻译出版公司, 2005. <br /> <br /> [6]陶迎年.从音、形、意三美对比《鸟鸣涧》五种英译本[J]. 语言应用研究, 2017(8):143-145.<br /> <br /> [7]王力.诗词格律[M].北京：中华书局, 2000:133. <br /> <br /> [8]吴桐，李淑华.从翻译美学角度看中国古诗翻译[J]. 2018(16): 151.<br /> <br /> [9]王洁.杨宪益文学翻译思想探析[J]. 西安文理学院学报,2020(23): 111.<br /> <br /> [10]谢文利.诗歌美学[M]. 北京: 中国青年出版社, 1989．<br /> <br /> [11]余恕诚等. 唐诗鉴赏辞典[M]. 上海：上海辞书出版社, 1983:183-185.<br /> <br /> [12]朱光潜.诗论[M].北京：生活读书新知三联书店出版, 1998.<br /> <br /> ==An Aesthetic Study on Ezra Pound's Four Poems of Departure in ''Cathay''- From the Perspective of Xu Yuanchong's &quot;Three Beauties&quot; Principle 石迪文 Shi Diwen==<br /> <br /> ==='''Abstract'''===<br /> <br /> At the dawn of the 21st century, Ezra Pound, intrigued by Chinese classical poetry, gave fresh impetus to the American New Poetry Movement. One of his works in this period, ''Cathay'', involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from Spring and Autumn period (770 B.C.-476 B.C.) to Tang Dynasty (618-907). It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The chapter focuses on his Four Poems of Departure, all originally written by Li Bai （李白）, including &quot;Separation on the River Kiang&quot;, &quot;Taking Leave of a Friend&quot;, &quot;Leave-taking near Shoku&quot; and &quot;The City of Choan&quot;. Its main contents involves interpretation and further exploration of the Chinese aesthetic values in Pound's version from the perspective of Xu Yuanchong's &quot;Three Beauties&quot;-Principle, i.e. beauty in sense, sound and form, by which it will prove that Pound's creative translation of Chinese classical poetry possesses some Chinese classical aesthetic concepts.<br /> <br /> ==='''Key Words'''===<br /> <br /> Ezra Pound, ''Cathay'', Chinese classical poems of departure, Three Beauty Principle, Chinese classical aesthetics<br /> <br /> ==='''摘要'''===<br /> <br /> 二十一世纪初，伊兹拉·庞德所领导的新诗运动从中国古典诗歌中寻找推动力，他在此期间所创译的《华夏集》从费诺罗萨笔记中选取了19首中国古典诗，横跨历史千年，从孔子编纂《诗经》的春秋时期(公元前770-公元前476年)到李白诗歌十二首的盛世唐朝(618年-907年)，这段时期中国古典诗达到艺术巅峰, 孔子所提出的诗教观兴盛,成为古代中国主流诗教观。这部作品既反维多利亚式夸大其词、矫揉造作的文风，推动了西方诗歌发展，又成为了中西文化交流史上的重要成果。本篇论文将聚焦于四首诗人挑选成章的离别诗，其均来自李白，分别是《黄鹤楼送孟浩然之广陵》、《送友人》、《送友人入蜀》以及《登金陵凤凰台》。论文主要内容是从许渊冲三美原则（意美、音美和形美）阐释和进一步发现庞德译作中保留的中国美学价值。通过这种方式，本文试图证明庞德对中国古诗的创造性翻译中仍具有一些中国古典美学观念。<br /> <br /> ==='''关键词'''===<br /> <br /> 伊兹拉 · 庞德，《华夏集》，中国古典离别诗，三美原则，中国古典美学<br /> <br /> ==='''Introduction'''===<br /> Ezra Pound (1885-1972), one of the most influential and controversial figures in American literature, has received floods of praises and condemnation since the first appearance of his ''Cathay'', a collection of nineteen poems, which introduces Confucian principles of poetry to American Imagist Movement. Cathay was published in 1915 when the Western countries suffered an alarming death toll in the First World War. Most of literary men were so drown in the darkness of terror and suspicion that they felt lost and trapped in despair while during this period Pound found his muse in Chinese classic poetry. It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The work involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from the Spring and Autumn period (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reaches its acme and Confucian philosophy of poetry education attains prosperity and dominates. <br /> <br /> The article puts Pound's version in comparison with Li Bai's original one and intends to explore the aesthetic values of translation by virtue of Confucian aesthetic philosophy and Qian Zhongshu's &quot;Hua jing&quot;. The former (Confucian aesthetic thoughts) mainly involves two aspects: one is the neutralization beauty of &quot;gentleness&quot; and &quot;sincerity“ (温柔敦厚）; the other is the imagery beauty of Chinese classical images. More precisely, Confucius advocates that the personal emotions expressed in poems should not be observed directly or thoroughly but be clouded, or to say, recorded emotional experiences of the real or imagined world should be presented in a roundabout and implicit way and brim with a beauty of moderation in content, i.e. “joyous but not indecent, mournful but not distressing, without resentment and slander” (乐而不淫, 哀而不伤, 怨而不谤). On the other hand, a variety of images are employed to help moderate poets' powerful emotions like homesickness, lovesickness and grief of parting, and all of them echo the neutralization beauty in poetic content. The latter (&quot;Hua Jing&quot;) proposed by Qian Zhongshu, who is one of Chinese great writers and translation theorists, is a well-known translation theory that contains Chinese classical qualities and inherits the traditional aesthetic thought. Firstly, &quot;Hua&quot; means the transmigration of souls in texts, by Qian which is considered as the top pursuit of literary translation. It requires that literary translators naturally and ingeniously convert texts of one language into words of another while at the same time the elusive charm of the original and its natures can be well preserved. In other words, language serves in a text just like man's flesh and blood and thus what translation can change only is the language but not the soul of the original. In this way, its immortal spirit can transmigrate to another language and reborn.<br /> <br /> The study concentrates on Four Poems of Departure in Cathay, including &quot;Separation on the River Kiang&quot; (《黄鹤楼送孟浩然之广陵》), &quot;Taking Leave of a Friend&quot; (《送友人》), &quot;Leave-taking near Shoku&quot; (《送友人入蜀》) and &quot;The City of Choan&quot; (《登金陵凤凰台》), all of which originally written by Li Bai, who was born in the most glorious age of Tang Dynasty. By virtue of Confucian philosophy and Qian's thoughts, the four poems can be well interpreted from the perspective of translation aesthetics, and by this way the essay helps enlarge the scope of translation study into Cathay and deepen the learning of Chinese classical aesthetics.<br /> <br /> ==='''Aesthetic Representation of &quot;Separation on the River Kiang&quot;'''===<br /> <br /> &quot;Separation on the River Kiang&quot; is the first poem in Four poems of Departure and tell a story of waving farewell to a friend along the River Kiang. The first two lines of the original poem is &quot;故人西辞黄鹤楼，烟花三月下扬州“, which Pound translates into &quot;KO-JIN goes west from Ko-kaku-ro,/ The smoke-flowers are blurred over the river.&quot; Literally, the translator mistranslates &quot;故人“，”黄鹤楼“ and exactly he simply transliterates the Japanese version of the two nouns (&quot;こじん&quot; and “こうかくろう”) into English one （KO-JIN and Ko-kaku-ro). Furthermore, Pound maybe not a good Japanese learner because &quot;こじん&quot;(KO-JIN) refers to a dead person but not &quot;故人&quot; (an old friend).<br /> <br /> ==='''Aesthetic Representation of &quot;Taking Leave of a Friend&quot;'''===<br /> ==='''Aesthetic Representation of &quot;Leave-taking near Shoku&quot;'''===<br /> ==='''Aesthetic Representation of &quot;The City of Choan&quot;'''===<br /> ==='''Conclusion'''===<br /> ==='''Bibliography'''===<br /> <br /> ==A Study on the Four Levels of Translation Based on Newmark’s Theory 张玲 Zhang Ling==<br /> <br /> ===18.3.1 Abstract===<br /> ===18.3.2 Key Words===<br /> ===18.3.3 摘要===<br /> ===18.3.4 关键词===<br /> <br /> ==A Study on Translatability and Untranslatability of English and Chinese Puns and Corresponding Strategies of Translation 曾心媛 Zeng Xinyuan==<br /> <br /> ===18.4.1 Abstract===<br /> <br /> ===18.4.2 Key Words===<br /> <br /> ===18.4.3 Contents===<br /> <br /> ===18.4.4 Bibliography===<br /> <br /> ==The Untranslatability of Chinese Classic Poems and its Translation Strategies 姚诚 Yao Cheng==<br /> ===Abstract===<br /> It is commonly believed poetry translation, of all kinds of translation, is the most difficult and demanding, yet possibly most worthy of our study. Though poems translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people remain divided over the translatability and untranslatability of poems and even the definition of untranslatability. This paper will discuss the translatability and untranslatability of poems from the perspectives of imagery, “yijing”, the use of allusion, sound and form. Then some corresponding strategies will be given so as to guide our poetry translation practice.<br /> ===Key words===<br /> poetry translation, untranslatability, translatability, translation strategies<br /> ===摘要===<br /> It is commonly believed poetry translation, of all kinds of translation, is the most difficult and demanding, yet possibly most worthy of our study. Though poems translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people remain divided over the translatability and untranslatability of poems and even the definition of untranslatability. This paper will discuss the translatability and untranslatability of poems from the perspectives of imagery, “yijing”, the use of allusion, sound and form. Then some corresponding strategies will be given so as to guide our poetry translation practice.<br /> ===关键词===<br /> 诗歌翻译，不可译性，可译性，翻译策略<br /> ===Introduction===<br /> Poetry is some sort of art that raises our sensuality of beauty through language. Through poetry, poets are able to express their pleasure, anger, sorrow and joy in a specific way which concentrates on sense, sound, rhyme, and now in a direct now in an oblique manner. In poems powerful emotions, remarkable imagination, bountiful rhetoric, and musical rhymes can be easily found. These elements altogether create the uniqueness of poetry. However, facing with the same Muse, an Englishmen, a Germany or a Greek may adapt a different way to present it since poetry owing to its artistic features, is deeply rooted in its native culture. Consequently, poems though may be appreciated by readers, they can be hardly reproduced by translators.<br /> Though poetry translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people’ opinion about the translatability and untranslatability of poems remain divided. Some translation theorists and translators seem to agree with translatability for the fact that there exist common grounds of culture in different nations. Such common grounds make it possible for people of different nation and culture to communicate with each other and such possibility constitutes the basis of the translatability of poems: these common grounds enables people of different culture and nation to appreciate the meaning and emotion of poems and echo with each other though they are written in different language. However, different nations also greatly differ from each other in historical reality which bring us to the very discussion of untranslatability. As poems are mainly appreciated from sense, sound and form, the untranslatability will be further argued in these three aspects. Then some corresponding strategies will be discussed to guide our actual translation practice.<br /> <br /> ===The untranslatability of poetry===<br /> ====The nature of untranslatability====<br /> Though there are numerous scholars in home and abroad believe that poetry is untranslatable for example Xu Guangqian, Wang Yizhu, Yu Guangzhong, Shelley, Robert Frost etc, people appear to hold different definition of untranslatability. Catford thinks that both language and cultural are untranslatable to some degree. Linguistic untranslatability exists in the inaccurate correspondence of different linguistic structure while cultural untranslatability is shown by the bare correspondence of meaning connoted in different culture. But Bassnett holds that the untranslatability nature should be discussed in the role that the context plays during the translation process. Few translations are totally untranslatable while many untranslatable sentences manifested by the lack of cultural correspondence can be compensated or replaced with translation methods. <br /> Some scholar simply maintained that the translatability of poetry means that possibility of poetry translation while equating untranslatability to the difficulties in translation. For example <br /> “人曾是僧，人弗能成佛。女卑为婢，女又可称奴。”<br /> The first part of the couplet was made by Su Xiaomei, sister of Su Dongpo with intention to ridicule Fo Yin and the second part was completed by Fo Yin as a response to Su Xiaomei. This antithetical and net couplet is famous for the meaning connoted in the form and anagram game. It was thought to be totally untranslatable until Xu Yuanchong gave his translation: <br /> “A Buddhist cannot bud into a Buddha<br /> A maiden maybe made a house maid”<br /> Xu Yuanchong’s translation is undoubtedly an excellent one no matter in its meaning or antithesis. Thus, they concluded that form the point of historical development, the translatability nature runs though poetry translation while the untranslatability nature is temporary and can be eliminated as long as the difficulties are solved.<br /> However, Xu Yuanchong himself appears to stand against this idea. In his opinion, a translated poem is the crystallization of the enormous efforts made both by the original poet and translator. when the original poet is compared to a father, the translator can be considered to be the mother and the translated poem a child. The child will never be utterly same to neither his father nor his mother. The same is also true of pome translation. The translated poem won’t be exactly the same as the original poem not will it be reproduced without the influence of the translator. Thus, Xu Yuanchong concluded there is no such question of translatability or untranslatability but the matter of the degree a poem can be translated to. Xu Yuanchong gave the following example:<br /> “流水落花春去也, 天上人间”<br /> Any translation of a poem should take various functions at different levels into consideration. Take meaning for example, what is concerned with the reality or thoughts about the world the poet wants to deliver is commonly regarded as the core of the reproduction. However. The author’s thought is usually connoted in the poem which leads to different interpretation or understanding of the poem. As understanding is the first step in any translation, there would be different kinds of translation of one poem according to the translator’s understanding. And there are at least four versions of translation of this verse:<br /> <br /> (1)“Flowing waters and faded flowers are gone forever<br /> As far apart as heaven is form earth” (Tr. Chu Dagao)<br /> <br /> (2)“The river flows –<br /> The blossoms fall –<br /> Spring going – gone<br /> in Heaven as on earth ”(Tr. Lin Tongji)<br /> <br /> (3)“One’s spring and youth has passed<br /> never to return<br /> One’s destiny is not of heaven’s<br /> Concern.” (Tr. Xu Zhongjie)<br /> <br /> (4)“Without flowers fallen on the waves<br /> Spring’s gone away<br /> So is the paradise of yesterday.” (Tr. X.Y.Z)<br /> <br /> Xu Yuanchong argues since there are at least 4 versions of translation, poetry is of course translatable. Also, similarities and differences can be easily found in the four translated work. Then similarities represent what the original poet wants to convey and the differences exhibit different expression methods adopted by the translator. Different expression methods also reveal the “translated degree” which means to which degree a poem is subjectively translated by the author within his ability. Then “translatable degree” should be discriminated form “translatable degree” which refers to the degree to which a poem can be objectively translated.<br /> When Xu Yuanchong’s translation of “人曾是僧，人弗能成佛。 女卑为婢，女又可称奴。” is reassessed with his definition of “translated degree” and “translatable degree”, it is clear that the difficulties that others equate untranslatability to fall into the category of “translated degree” since Xu Yuanchong solved the problem of meaning and anagram game but the form is not fully translated at least in this point: in the original verse, two short clauses “人曾是僧” and ”人弗能成佛” altogether constitute the whole meaning, but in the translation “A Buddhist cannot bud into a Buddha“ there is only one complete sentence. In this sense, this couple is only translatable to a certain degree. So our discussion of translatability will be confined to the field of “translatable degree”<br /> <br /> ====The untranslatability of imagery====<br /> Image is defined by J.A. Cuddon to be a general term that covers the use of language to represent objects, actions, feelings, thoughts, ideas, states of mind and any sensory or ex-sensory experience (1998:413). Qin Xiubai believes, “imagery is the soul of poetry”. This illustrates the critical status of imagery in literary translation, especially in poetry translation. Though Chinese and foreign poets attach great importance to the use of imagery, they, due to disparities in social and cultural background, differ from each other in tradition, ideology and mode of thinking. When comparison is made between Chinese and Western imagery theory, we can conclude the following features of Chinese imagery: <br /> At first, imageries in ancient Chinese place overwhelming importance on the meaning an imagery delivers rather than the imagery itself. Chinese tend to express their feelings in a very implicit way. The use of imageries consequently became prevalent among Chinese poet. As a result, imageries turn out to be the organic combination of the subjective feeling and an object. For example，“浮云游子意，落日故人情”（李白《送友人》） and “杨柳岸，晓风残月”（柳永《雨铃》）. Chinse imagerys boast unique connoted meaning. “浮云”(floating clouds)”落日” (setting sun)、”杨柳”(willow) 、”晓风”(breeze) 、”残月” (wane moon)are typical imageries that Chinese poets used to express the feeing of farewell. When these imageries are literally translated, it can barely intrigue the same feeling in target readers. Another example can also clearly explain this untranslatability of imageries of Chinese poetry. “鸿雁” or “飞鸿” is commonly employed by poets to express the lovesickness while “wild swan” or “wild geese” is but some sort of bird. When “鸿雁” or “飞鸿” is simply translated into “wild swan” or “wild geese”, English readers can’t appreciate the translated work as much Chinese reader appreciate the original poem due to the untranslatability of imagery.<br /> On the basis of its appealing to human sense, five types of imagery can be outlined as follows: visual imagery, aural or auditory imagery, tactile imagery, olfactory imagery and other sensory imagery. In addition, since any subject in the globe is either static or dynamic, imageries can also be divided into static and dynamic imagery. Then there come to the other prominent feature of imagery of Chinese poetry: Chinese much prefer static imageries to dynamic ones. Static imagery is comprised of adjectives and adjective phrase, nouns and nouns phrase as well. For instance, in the Chinese poem 《早发白帝城》 by Li Bai<br /> “朝辞白帝彩云间，千里江陵一日还。两岸猿声啼不住，轻舟已过万重山。” <br /> At dawn I left the walled city of White King, <br /> Towering among the many-colored clouds;<br /> And came down stream in a day One thousand li to Jiangling. <br /> The screams of monkeys on either bank <br /> Had scarcely ceased echoing in my ear <br /> When my skiff had left behind it <br /> Ten thousand ranges of hills<br /> “彩云”(colored clouds)、“轻舟”（skiff）、“万重山”（Ten thousand ranges of hills） can be categorized into static imagery. These three images are not only the objects the poet describes, but the very psychology equivalence reflecting the poet’s feeling. The poet express his great delight upon his absolved from exile through the image “彩云”while “轻舟”passing“万重山”shows the poet’ eager to return home. Reading the translated work, readers can hardly grasp the mood of the original poet. Despite the large quantity of static imagery, the use of dynamic is vivid and picture-evoking. Dynamic imagery refers to the dynamic description in chinse ancient poems such as imageries presented by the verbs of “还” and “过” use in Li Bai’s《早发白帝城》.There are other abundant examples of dynamic imagery: “绿” in “春风又绿江南岸”(王安石《泊船瓜洲》), “闹” in “红杏枝头春意闹”（宋祁《木兰花》）and “弄” in “云破月来花弄影”（张先《天仙子》）bring enormous vivacities to these verses. But such dynamic imageries can’t be hardly translated since exactly corresponded words can’t be found. Even so, the mood can barely be reproduced as “还” and “过” in examples above are translated into ”came down” and “left behind”.<br /> <br /> ====The untranslatability of “yijing”====<br /> The artistic kingdom has been sung high of throughout the history of Chinese poetry development, and assigned the name as “意境”(“yijing”). The phrase “意境” was translated into “artistic conception” or “ideorealm” by some. However, both of these two terms fail to fully express the core of “意境”（”yijing” ). ”yijing”, too mysterious and intangible as it is, is deemed to be the sprit of poetry. Though “yijing” originated from imagery, it is never a simple aggregate of images but an organic integration of imagery. Poets us concrete images to express their feeling and these two elements then become fully blended in “yijing” which altogether brings and far-retching philosophical effects. For example, in 《江雪》(柳宗元) <br /> 千山鸟飞绝，万径人踪灭。<br /> 孤舟蓑笠翁，独钓寒江雪。”<br /> River Snow<br /> A hundred mountains and no bird,<br /> A thousand paths without a footprint;<br /> A little boat, a bamboo cloak,<br /> An old man fishing in the cold river-snow. （Tr. Witter Bynner）<br /> <br /> At first glance, the poem seems to present a snow picture. However, through images including “大雪”、 “孤舟”、 “老渔翁”、 “寒江”、 “鸟飞绝” and “人踪灭”, a vivid picture of an old man fishing alone in the wild cold snow unfolds before our eyes and delivers us the image of the old fishman who exhibits loneliness and pride and forbears no sacrilege. In actuality, this old man by which the poet expresses his thought of getting rid of the secular and holding himself aloof from the world, is an incarnation of the poets’ sprit. Though any single image has no specific meaning, the organic integration of thess simple images attributes to the profound “yijing” which is exactly the charm of Chinese poems. However, in Bynner’s translation, nothing but a snow picture can be seen. The other typical example is 《天净沙》（马致远）<br /> “枯藤老树昏鸦，<br /> 小桥流水人家，<br /> 古道西风瘦马。<br /> 夕阳西下，<br /> 断肠人在天涯。”<br /> It seems that the poet randomly puts “枯藤”、“老树”、“昏鸦” and other 7 images together, but the last sentence“断肠人在天涯” fully revels the core concept of the poem and leave us roomy space for imagination. When Chinese sentence characterized by parataxis is translated into English features hypotaxis, the beauty of “yijing” of Chinese classical poetry vanishes to a large degree, if not completely.<br /> <br /> ====The untranslatability of allusion====<br /> As a gem of Chinese national culture, allusion is characterized by rich cultural connation, highly-concentrated structure and compact expression. In the course of more than five thousand years, numerous Chinese allusions are widely spread. Poets, to avoid direct expression of feeling, would naturally resort to such allusions like myth, legends, or historic event. Due to cultural difference, western reader can hardly understand what is connoted in the poem as much as Chinese reader can appreciate. If these allusions are translated completely translated by explanation, the whole translated poem will be lengthy and no longer be poem in form. On the contrary, if the allusion is simplified, connotations and space for imagination would no longer exist. For example:<br /> 古别离<br /> 孟郊<br /> 欲去牵郎衣，郎今何处去？<br /> 不恨归来迟，莫向临邛去！<br /> You wish to go, and let your robe I hold.<br /> Where are you going- tell me, dear – today.<br /> Your late returning does not anger me,<br /> But the another steal your heart away. (Tr. Fletcher)<br /> Undoubtedly, the basic meaning is reproduced when “莫向临邛去” was translated into “But the another steal your heart away.” However, the loss of image leads to the deviation of original information. Actually, “临邛” in the original poem is an allusion which tells the love story between Sima Xiangru, an prominent litterateur of West Han dynasty and an widow Zhuo Wenjun. The widow dared to break tradition hierarchy and ran way with the litterateur and married him at last. Obviously, here “临邛” is no longer a name for a place but a media the poet used to express the widow’s anxiety that her husband would fall in love with someone else in his journey. This anxiety is implicitly express in the original poem. However, the translated poem delivers this feeling in a blunt and frank manner, which doesn’t coincide with the characteristic of ancient Chinese women. Thus, the translation is by no means the perfect reproduction of the original poem. The translation of《琴瑟》（李商隐） can also illustrate this point:<br /> 锦瑟无端五十弦, 一弦一柱思年华。<br /> 庄生晓梦迷蝴蝶, 望帝春心托杜鹃。<br /> 沧海月明珠有泪, 蓝田日暖玉生烟。<br /> 此情可待成追忆, 只是当时已惘然。<br /> “Why should the sad zither have fifty strings? <br /> Each string, each strain evokes but vanished springs: <br /> Dim morning dream to be a butterfly; <br /> Amorous heart poured out in cuckoo’s cry.<br /> In moonlit pearls see tears in mermaid’s eyes;<br /> From sunburnt emerald let vaporize! <br /> Such feeling cannot be recalled again: <br /> It seemed lost even when it was felt then.” (Tr. Xu Yuanchong)<br /> Five allusion including “琴瑟”、 “庄周梦蝶”、“望帝春心”、“沧海月明”、“蓝天” in used in a poem of only 64 words to express the beaty of obscurity. Though Xu used interrogative and exclamatory sentence as well as such words like “amorous”、”cry” to reproduce this beauty. Butt westers, with little knowledge of Chinese culture will be confused by the relationship between of “string” and ”vanished things” or the connotation of “butterfly”、“cuckoo” and “pearls”.<br /> <br /> ====The untranslatability of sound====<br /> Poetic language has a natural connection with sound. The monosyllable nature and the four tones of Chinese character make it possible for Chinese poets to have a sometime deep, sometime high rhyme and rhythm which however are hardly limited in Chinese poem for the following three aspect: the harmonious balance between level and oblique tones, requirement for antithesis and rhyme which means the regular repetition of the same vowel. However, it is still much more difficult for English poets to enhance the musicality due to the uncertain syllable of words, stress shift between words, and limitation of rhyme. Consequently, the beauty of sound itself of Chinese classical poems can barely reproduced in English. For example,<br /> 海水朝朝朝朝朝朝朝落,<br /> 浮云长长长长长长长消。<br /> Sea waters tide, day to day tide, everyday tide and everyday ebb.<br /> Floating clouds appear, often appear, often appear and often go (Tr. Nida)<br /> Though the meaning of the original poem was fully translated, but the reiterative locution, reduplication words and antithesis which can impress the original reader at their first glance disappear.<br /> Here is the other example；<br /> “寻寻觅觅，冷冷清清，凄凄惨惨戚戚。《声声慢》（李清照）<br /> “Seek, seek, search, search,”<br /> Cold, cold, bare, bare,<br /> Grief, grief, cruel, cruel grief,<br /> Now warm, then like an autumn<br /> Cold again<br /> How hard to calm the heart. (Tr. Clara Candlin)<br /> There are seven couple of reduplication words bring the musicality that remind us the poet’s deep sorrow and grief though no single word regarding to sadness is used. The translated works is pale when compared to the original poem in terms of neither meter nor”yijing”. The word-for-word translation in attempt to maintain the repetition of sound reduces the sense of beauty to the most and can scarcely trigger the deep sorrow and grief in the target reader.<br /> <br /> ====The untranslatability of from====<br /> Since Aristotle, heated debates on the difference of poetry and prose have been hold. Yet, poetry should be discriminated from prose in the first place for its form. A translated poetry must be poetry in form for the following reason: at first, the charm of a poem somewhat lies in the beauty of form. Second, target readers should have accesses to the feature and charm of the original poetry, and it is the supreme duty of the translator to ensure that to happen. Third, the translator should be royal to the original poem. However, because of the opaqueness and connotation pervading in Chinse poems, translator in one way or other are prone to translate them into poetry and thus the beauty of form is lost.<br /> Even though the translator is determined to keep the original form, he can hardly do so. As mentioned earlier, because of implicit character of Chinese, they tend to express their intention or feeling in a direct way so much so that some special form in adopted in classic poetry such as the anagram mentioned earlier.<br /> 凡鸟偏从末世来，都知爱慕此生才。<br /> 一从二令三人木，哭向金陵事更哀。<br /> <br /> This bird appears when the world falls on evil times;<br /> None but admires her talents and her skill,<br /> First she complies, then commands, then is dismissed,<br /> Departing in tears to Jinling more wretched still. (Tr. Yang xianyi &amp; Gladys)<br /> <br /> This phoenix in a bad time came,<br /> All praised her great ability.<br /> “Two” makes my riddle with a man and a tree,<br /> Returning south in tears she met calamity. (Tr. David Hawkes)<br /> <br /> The original poem was use by Cao Xueqin to make hints of Wang Xifeng’s destiny. Here, “凡” and “鸟” altogether constitute the traditional Chinese character “鳳” which refers to the word “feng” of Lady Wang Xingfeng. Thus, the first couplet tells us though Wang is lady of high caliber but she came at a bad time. Neither “bird” nor “phoenix” can deliver us this hint. Also in the first part of the second couplet, “木” and “人” make the character “休” (“repudiation”) which implies Wang Xifeng would be dismissed by her husband at last. Though the first translation literally tells us her destiny, the anagram is gone. It is still worser of the second translation, target reader will be utterly confused when he come to “‘Two’ makes my riddle with a man and a tree,”<br /> <br /> ===Translation strategies of Chinese classical poetry===<br /> Much as a poem can’t not be fully translated in all aspects, some strategies can be adopted to make the translation as lose to the original poetry as possible:<br /> ====Addition of word====<br /> Chinese classical poetry features terse wording so much so that some words are omitted. Thus, considerable words should be added to make the translation more exact in sense. For example,<br /> “十年生死两茫茫”<br /> “Ten years now, I’m here, you’re gone. Though not thought, not forgot.” <br /> “For ten long years, the living of the dead knows nought.” (Tr. Xu Yuanchong)<br /> In the second translation, the preposition “for” is added to meet English expression and more importantly, it can strength readers’ feeling the span of time and echo the grief.<br /> Besides, connotation should added to prevent target reader from confusion resulted from culture difference. For example,<br /> “纤云弄巧，飞星传恨，银汉迢迢暗渡”<br /> “Clouds float like works of art，Stars shoot with grief at heart． <br /> Across the Milky Way the Cowherd meets the Maid ( In a fairy tale in ancient China，the Cowherd and the Maid were married，but theywere restricted by the Queen Mother to meet each other once a year) ”，<br /> An allusion is used for the implicit expression of lovesickness, it would be extremely difficult for target readers to appreciate the full sense of this poem.<br /> <br /> ====Deletion of word====<br /> Reduplicated and repetitive words are used to trigger strong emotion. Such word can be sometime deleted to avoid redundance in English. For example, in “飞流直下三千尺” and “千锤万凿出深山”， “三千尺” and “千锤万凿” are actually hyperbolized. If they are literally translated into “It flows down three thousand feet” and “Only through tens of thousands of blows，can it be extracted from the mountains”，not only the beauty of sense but space for imagination are totally lost. After fully understanding of the poem, the numbers can be omitted and thus hyperbole is transformed into typical English adjective used for description.: “an incredible height” and “a hard hammer blows”.<br /> <br /> ====Conversion of word class====<br /> English and Chinese differ from each other a lot in terms of linguist form and structure. In order to make the translation faithful, Conversion of word class is frequently used. For example，<br /> “明月几时有，把酒问青天” 《水调歌头·明月几时有》（苏轼）<br /> “How long will the full moon appear?<br /> Wine cup in hand, I ask the sky.” (Tr. Xu Yuanchong)<br /> “How rare the moon，so round and clear! <br /> With cup in hand, I ask of the blue sky,” (Tr. Lin Yuntang)<br /> If “把酒” and “问青天” are separably translated into “hold the wine glass” and “ask the sky”, there will be two predicate which is inconsistent with English expression. When we take a close look to Xu’s and Lin’s translation, it is clear that the verb phrase ”把酒” are translated into prepositional phrase. By doing this, the focus ‘问青天” is empathized so that the sense is closer to the original poem<br /> <br /> There are of course many other ways for poetry translation such as reconstruction of sentence and the use of annotation. No matter what strategies we adopted, it borders on impossibly for us to 100% translate a poem. But we should also bear it in mind that we can always find a way to make the translated work closer to the original poem with brainstorm and ingenuity.<br /> <br /> ===Conclusion===<br /> In spite of the very fact that poetry translation has been practiced since very long ago and theories of poetry translation have been much produced. Different opinion was still hold of translatability and untranslatability. This paper confined the definition of untranslatability first and then explained the untranslatability from image, “yijing” the use of allusion, sound and form. Some strategies are given not in the fancy of the full reproduction of the original poem but with wish to reproduce it to as much greater degree as possible.<br /> <br /> ===References===<br /> [1]辜正坤. 中西诗比较鉴赏与翻译理论 [M]北京:清华大学出版社,2003.<br /> <br /> [2]许渊冲.诗词英译漫谈[J].中国翻译,1988(03):40-43.<br /> <br /> [3]李新红.试论中国诗歌之“不可译”[J].兰州教育学院学报,2010,26(06):294-296.<br /> <br /> [4]隋荣谊.诗歌翻译[J].英语知识,2011(10):35-38.<br /> <br /> [5]饶卫民.论诗歌翻译的可译性与不可译性[J].安顺学院学报,2012,14(06):27-29.<br /> <br /> [6]杨群,刘益.中国古典诗歌翻译中的不可译性[J].南华大学学报(社会科学版),2005(06):93-95+106.<br /> <br /> [7]马庆军.中国古典诗歌的不可译因素[J].天津职业院校联合学报,2015,17(01):83-87.<br /> <br /> [8]王剑果.论诗歌翻译中形似的重要性[J].河南师范大学学报(哲学社会科学版),2012,39(05):149-150.<br /> <br /> [9]何峻.从译者的再创造看诗歌由不可译性向可译性转化[J].成都大学学报(社会科学版),2008(04):124-127.<br /> <br /> [10]孙华丽.中国古诗词翻译技巧研究[J].三峡大学学报(人文社会科学版),2020,42(04):113-116.<br /> <br /> [11]李海燕.Beauty in Sense, Sound and Form in Poetry Translation —— Translation of Tang Poems From Chinese to English[J].内蒙古教育学院学报,2000(04):155-158.<br /> <br /> [12]赵旦,陈养桃.戴着镣铐起舞——诗歌翻译为何难的几点分析[J].安徽文学(下半月),2015(12):5-6+34.<br /> <br /> ==A Study on Untranslatability and Compensations 朱旭 Zhu Xu==<br /> <br /> ===Abstract===<br /> <br /> ===Key words===<br /> <br /> ===摘要===<br /> <br /> ===关键词===<br /> <br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Study on translations of ''Vanity Fair'' from the perspective of poetics 许鹏飞 Xu Pengfei==<br /> <br /> &lt;center&gt;许鹏飞 Xu Pengfei&lt;/center&gt;<br /> <br /> ===Abstract:===<br /> <br /> This chapter aims to discuss function losses and poetic values in translations of ''Vanity Fair'' from the perspective of poetics. In literary translation, translators may not strictly follow forms and structures corresponding to original texts due to various reasons, which can help translators convey emotions and content of original texts but also do damage to some functions and poetic effects of originals unconsciously. This chapter chooses some excerpts from two versions translated by Yang Bi and Peng Changjiang respectively. Under the guidance of poetics theory, this part will discuss the advantages and disadvantages in their translations and compare them to the original text. And the author will analyze their function losses and poetic values in aspect of literariness in the excerpts from two versions of ''Vanity Fair''’s translation.<br /> <br /> ===摘要：===<br /> <br /> 本章节旨在从诗学角度探讨《名利场》不同译本中的功能损失和诗学价值。在文学翻译中，译者时常不会严格遵从原文的形式与结构，这有利于译者对原文情感内容的传达，但也在无形之中损害了原文的某些功能和诗学效果。本文节选了杨必和彭长江二人译本中的部分文段，在诗学理论指导下，通过分析二者翻译的优缺点，以及与原文进行比对，来探讨这两个译本选段翻译中存在的功能损失以及他们在文学性方面的诗学价值。<br /> <br /> ===Key words:===<br /> <br /> Literary translation;''Vanity Fair'';Poetics theory;Departure;Literariness<br /> <br /> ===关键词：===<br /> <br /> 文学翻译；名利场；诗学理论；偏离；文学性<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> When it comes to literary translation, it cannot escape from controversy and difficulty. It is considered that literary translation is quite hard because sense of beauty and emotions may be lost in the process of translation before they reach target receptors. And one or more translators seek to give a good translation of a same original, hence re-translation often occurs. ''Vanity Fair'' is a novel written by English writer William Makepeace Thackeray in 1847 which depicts English society in early nineteenth century. About a hundred years later, Yang Bi translated it into Chinese in 1957. Her translation is free from the shackles of the original language structure, showing charm and original style of ''Vanity Fair''. After Yang Bi’s translation, a lot of people re-translated this book. Among them, Peng Changjiang’s work is an impressive one. His translation, published in 1996, follows the original structure which is quite different from Yang Bi’s version in style, wording and many other aspects. Both of them give their unique translations to Chinese readers and their translations own their characteristics and merits. Nevertheless, it is inevitable that something in source text may be lost in target text. Besides, their different choices of translation strategies are worthy of discussion. To explore these, this chapter will discuss some discourses excerpted from the two versions compared with the original text under the guidance of poetics theory. And how literariness in original text can be retained in their translation will also be involved. According to comparisons and study, it will analyze their poetic values and function losses in translation in perspective of poetics.<br /> <br /> ===Chapter 2 An Overview of Relevant Theories===<br /> <br /> Before discussing the comparison between Yang Bi’s version and Peng Changjiang’s translation, this part will briefly introduce the theoretical basis of this chapter. In this section, the author will first give an introduction on relevant parts of poetics theory and then expounds the functions of language proposed by the Roman Jakobson, especially poetic function. And then this part will discuss internal connections between poetics theory and poetic function.<br /> <br /> ====2.1Poetics theory====<br /> <br /> Poetics originated in ancient Greece. Poetics in tradition is a study on poetry based on Aristotle’s Poetics, while Jakobson enlarges its fields. Roman Jakobson proposed that poetics can be applied in research on literature because its object of study is art of language(1987: 69). According to Jakobson(1987: 63), the main question that poetics studies is what transforms verbal message into arts. Poetics theory proposes that literariness in literature distinguishes it from other text types and gives it poetic effects. And it is literariness that makes literature a kind of verbal art. Correspondingly, literariness is the object of literature research(Jakobson, 1973: 62). As a result, a vitally important issue in literary translation that needs to figure out is how to retain literariness in original works. This is closely connected with functions of language, especially poetic function, which is dominant and crucial for literature. Besides, cognitive poetics theory considers that the more efforts a reader makes to understand a work, the stronger poetic effects it will produce(Pilkington, 2000:161 -169). The unfamiliar expression is a skill of creating art and grabbing readers’ attention in poetic perspective(Shklovsky, 1998: 16). And poetic language is a kind of self-focused message, different expressions can build different informational capacity of messages(Jakobson, 1987:67, 85). Therefore, choices of words and structure in literary works cannot be ignored and should be seriously concerned in literary translation.<br /> <br /> ====2.2Functions of language====<br /> <br /> At first, the Prague Circle proposed that there are three functions of languages, that are expressive, conative, and referential function. Then, linguists of the Prague Circle also proposed a fourth function—aesthetic function. This function indicates that language can serve art. In 1960, Jakobson raised another three functions: phatic, metalingual, and poetic function. Based on functions, he distinguished six elements in his model of functions that are necessary for communication to occur: context, addresser(sender), addressee(receiver), contact, common code and message(as cited in Feng Zongxin, 2006:19-34). Poetic function originated from literariness is the main function of literature and it focuses on the message(Jakobson, 1987: 69). How to use various linguistic devices to achieve the desired purpose is always the focus of scholars who study various kinds of linguistic communication(Roman Jakobson, 1981a: 19). In other words, different communicative purposes determine that linguistic devices should perform different tasks and fulfill different functions. As poetic function pays attention to message itself and its expressive device is a kind of self-focused message, carriers of information should be focused on(Jakobson, 1987: 85). Therefore, form of original works should be taken into consideration. Combined with poetics, form of original works can influence literariness, which cannot be ignored in translation.<br /> <br /> ====2.3Poetics theory and poetic function====<br /> <br /> In view of formalism, no matter what the art, it needs to be expressed through certain forms. The medium used in literature is language, and studying art of literature is actually studying language itself. Jakobson argues that poetics is an integral part of linguistics(1958: 63). Thus, the main research method of poetics is studying language through linguistics. As mentioned in 2.1, it is literariness that makes literature a kind of verbal art. And literariness is produced by certain permutation and combination of language. And Jakobson argues that, whereas most language is concerned with the transmission of ideas, the poetic function of language focuses on the ‘message’ for its own sake. Formalist scholars led by Jakobson believe that the intentional violation of conventions results in variation of forms, and thus forms defamiliarization(Wand Dongfeng, 2010: 8). The process by which readers gain understanding from reading and decoding these novel and inexplicable forms of language will produce poetic effects and aesthetic feelings(Shklovsky, 1998: 16). In a short, analyzing poetic function of language in literary works is a indispensable method to appreciate literature in perspective of poetics.<br /> <br /> ===Chapter 3 Comparative Analysis of Translations of ''Vanity Fair''===<br /> <br /> ====3.1Lexicon====<br /> <br /> ====3.2Sentence structure====<br /> <br /> ===Chapter 4 Conclusion===<br /> <br /> ===Chapter 5 References===<br /> <br /> ==A Study of the Chinese Prose Translation from the Perspective of Translation Aesthetics 赵晓燕 Zhao Xiaoyan==<br /> <br /> ==A Study on the translations of Cosmetic Trademarks from the Perspective of Translation Aesthetics 张琪 Zhang Qi==<br /> <br /> ='''Culture Loaded Words'''=<br /> <br /> <br /> ==Foreignizing Translation of Culture-loaded Words in Chinese Food Culture 全美欣 Quan Meixin==<br /> &lt;center&gt;全美欣 Quan Meixin<br /> 湖南师范大学 外国语学院，湖南 长沙&lt;/center&gt;<br /> <br /> === '''Abstract ''' ===<br /> <br /> Chinese food culture, as an important part of Chinese traditional culture, is rich in ethnic characteristics. Some words related to Chinese food culture are also abundant in cultural information. By adopting the foreignizing translation, Chinese language and cultural information can be preserved to the greatest extent. This paper will be divided into four parts. The first part will give a brief introduction of culture-loaded words and foreignizing translation. The second part will explore culture-loaded words in Chinese food culture from the strategy of foreignizing translation in three categories: words of historical allusions, words of local customs and words of food aesthetics. The third part will put forward that we should use comprehensive translation techniques to achieve foreignizing translation, which is beneficial to retain the characteristics of Chinese food culture, reflect the value of national culture, and promote Chinese food culture to go out. The fourth part will draw a concise conclusion about this paper.<br /> <br /> === '''Key Words''' ===<br /> food culture; culture-loaded words; foreignizing translation; cultural communication; translation skills<br /> <br /> === '''摘要''' ===<br /> 中国“食”文化是中国传统文化一个重要组成部分，极具民族特征，与“食”文化有关的词语也富含中华民族文化信息。采用异化翻译能最大限度保留中华民族的语言和文化信息。本文分为四部分：第一部分简单介绍文化负载词和异化翻译；第二部分对“食”文化负载词中历史典故词、民俗习惯词和饮食审美词三个类别的异化翻译策略进行探讨；第三部分提出运用综合的翻译技巧实现异化翻译，保留中国饮食文化的特色，体现民族文化的价值，推动中国“食”文化走出去；第四部分对本文进行一个简短的总结。<br /> <br /> === '''关键词''' ===<br /> “食”文化；文化负载词；异化翻译；文化传播；翻译技巧<br /> <br /> === '''1.Introduction''' ===<br /> <br /> ===='''1.1 Culture-loaded words '''====<br /> <br /> ===='''1.2 Foreignizing Translation'''====<br /> <br /> === '''2.Categories of Culture-loaded Words in Chinese Food Culture''' ===<br /> <br /> ===='''2.1 Words of Historical Allusions '''====<br /> <br /> ===='''2.2 Words of Local Customs '''====<br /> <br /> ===='''2.3 Words of Food Aesthetics '''====<br /> <br /> ==Translation of Cultural words Based on Interpretive Theory 何长琦 He Changqi==<br /> <br /> ==Study on the translation of culture-loaded words from the view of cultural self-confidence. 刘博 Liu Bo==<br /> <br /> ==='''Abstract'''===<br /> <br /> Today, China's growing international influence is inseparable from cultural development. Without a high degree of cultural self-confidence, no country or nation can flourish. Language is an important carrier of cultural inheritance, development and prosperity, so in the context of cultural self-confidence, the translation of culture- loaded words is of great significance to the spread of Chinese traditional culture.<br /> <br /> ==='''Key words'''===<br /> <br /> culture-loaded words, cultural self-confidence, translation strategy<br /> <br /> ==='''摘要'''===<br /> <br /> 如今中国的国际影响力日益提升，离不开文化的发展。没有高度的文化自信，便没有一个国家和民族的兴盛。而语言又是文化传承、发展、繁荣的重要载体,因此在文化自信的语境下，文化负载词的翻译对中国传统文化的传播具有重要的意义。<br /> <br /> ==='''关键词'''===<br /> <br /> 文化负载词，文化自信，翻译策略<br /> <br /> ==='''Introduction'''===<br /> <br /> China is a major cultural nation, and its long cultural history gives it reason to be confident in its own culture. As Xi Jinping said, &quot;In today's world, if any political party, country or nation can be confident, the Communist Party of China, the People's Republic of China and the Chinese nation have the best reason to be so. With the courage to 'live a life of 200 years with confidence, we will be able to face all difficulties and challenges without fear, and we will be able to open up new horizons and create new miracles with unswerving determination. However, in the course of China's development, we have also absorbed Western culture while neglecting the development of Chinese culture. This phenomenon is still going on today. As China's economic development has entered a new stage, and reform has also entered a critical period, social values have become complex and diverse. The mainstream and the non-mainstream co-exist, and the advanced and the backward are intertwined, presenting a pluralistic and changeable character. Therefore, China needs a force to unite the complex and diverse social consciousness, and the importance of traditional Chinese culture is once again highlighted. Therefore, the Communist Party of China (CPC) has proposed the concept of &quot;firm cultural confidence&quot;, which has been widely accepted by the Chinese people. Against this backdrop, English language learners should take on the task of communicating the cultural loaded words of Chinese culture to the world, so that the world can learn more about Chinese culture through language, and thus increase China's international influence.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu Jinxingqi==<br /> <br /> ==Translation of Culture-loaded Words in Mao Zedong's Poems from the Cognitive View of Translation—A Case Study of Xu Yuanchong's Version 曾芳缘 Zeng Fangyuan==<br /> <br /> &lt;center&gt;曾芳缘 Zeng Fangyuan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> Characterized by profound meaning, majestic style, and concise language, Mao Zedong's poems shows the essence of his life and revolutionary experience. Mao's unique artistic charm and philosophical wisdom make him deeply respected by the people around the world and translation of his poems are also widely concerned. His poems are written in the style of classical metrical verse, in which the culture-loaded words are the crystallization of Chinese culture. Because of the specificity and complexity of culture meaning, there exists much challenge in the translation of such words. Nowadays, translation theorists both at home and abroad have gradually swerved their focus from discourse analysis and cross-cultural communication to a deeper factor—cognition as a way to explain the phenomenon.<br /> <br /> In this sense, based on Nida's classification of culture-loaded words, this chapter selects Xu Yuanchong's translated version of Mao's poems as an example to discuss the translation of culture-loaded words from the perspective of cognitive view in translation. <br /> <br /> ==='''Key Words'''===<br /> <br /> Culture-loaded words; Mao Zedong's Poems; cognitive view of translation; Xu Yuanchong's translation.<br /> <br /> ==='''摘要'''===<br /> <br /> 毛泽东诗词意境深远，气势磅礴，语言自然简洁，是毛泽东人生和革命经历的精华，独特的艺术魅力和哲理智慧让其深受世界人民的推崇。他的诗词都用古典的中国格律诗体写就，其中的文化负载词是中华民族思想文化的结晶。但由于其文化意义独特复杂，给翻译带来了较大挑战。当下，国内外的翻译研究焦点由文本分析和跨文化交流的角度渐渐转向了一个更深层的要素——认知来解释文化负载词翻译的现象。<br /> <br /> 本篇基于奈达对文化负载词的分类，选取许渊冲所译的毛泽东诗词为实例，根据认知语言学翻译观，浅谈文化负载词的翻译。<br /> <br /> ==='''关键词'''===<br /> <br /> 文化负载词；毛泽东诗词；认知翻译观；许渊冲译文<br /> <br /> ===Conclusion===<br /> <br /> ===Works Cited===<br /> <br /> ==Translation Strategies of Words under the Guidance of Translation Methodology 肖婷 Xiao Ting==<br /> <br /> == Analysis of the Translation of Culture-loaded Words in ''Vanity Fair''常慧月 Chang Huiyue==<br /> <br /> ='''Skopos and Functional Equivalence'''=<br /> <br /> ==On the Relationship among Translation Theories, Strategies and Techniques ——From the Perspective of Skopos Theory==<br /> <br /> &lt;center&gt;谌孙福 Chen Sunfu&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> One fact known to be existent in the learning of translation is students' ignorance of the discrepancy between translation studies and translation practice. Bluntly speaking, central to translation studies are diverse translation theories. However, some strategies, methods and skills accordingly applied are at the core of translation practice during the process of translation. Given the fact that translation theories, strategies, methods and skills are always misunderstood as concepts in the same level, this paper aims to expound the relationship among them on the basis of Hans Vermeer's Skopos Theory as well as the exhaustive analysis of examples of pragmatic translation. With the citation of several examples of pragmatic translation, including those of tourism translation, literary translation and business translation, this paper elucidates the principal points vividly.<br /> <br /> ==='''Key words'''===<br /> translation theories; translation strategies; translation techniques; Skopos Theory; pragmatic translation<br /> <br /> ==='''摘要'''===<br /> 学生翻译学习过程中普遍存在的一个现象是混淆翻译学研究和翻译实践的区别。简言之，翻译学研究的核心是形形色色的翻译理论。相比之下，翻译实践关注的重点则是翻译过程中运用的翻译策略、方法和技巧。鉴于翻译理论、策略、方法和技巧常被误认为是同一层面的概念，基于汉斯•弗米尔的功能目的论和对实用文本译例的详尽分析，本论文旨在阐明翻译理论、策略、方法和技巧之间的关系。文中出现的实用文本译例清楚展现了论文要点，如旅游文本、文学类文本以及商务文本的翻译等。<br /> <br /> ==='''关键词'''===<br /> 翻译理论；翻译策略；翻译技巧；目的论；实用类文本翻译<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ===='''1.1Skopos Theory '''====<br /> Skopos Theory, one of the most profound contributions made by German Functionalist School, is basically put forward by Hans Vermeer as a new way to deal with translation, especially the relationship between ST (the source text) and TT (the target text). Here, the original German word &quot;Skopos&quot; refers to &quot;purpose&quot; in English, indicating that Skopos Theory can be also interpreted as &quot;the principle of purposes&quot;. According to Vermeer, there are mainly three rules to be abided by, namely skopos rule, coherence rule and fidelity rule, among which the skopos rule is of overriding importance. Now an exhaustive explanation will be given in the following text with regard to those rules.<br /> <br /> The first one to be illustrated is the overwhelmingly significant skopos rule. In the eyes of Hans Vermeer, &quot;each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follow: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.&quot; (Nord, 2001:29). Seeing from his remarks, what matters most in the process of translation is not so much the equivalence between ST and TT as the manifold purposes. These purposes encompass those of the translator and the text, the latter one of which is greatly highlighted. That is to say, the translator need not obstinately stick to the form and style of ST but rather give top priority to what the TT actually wants to convey and transfer to TT readers. Hence, the adoption of pertinent translation strategies and techniques is by no means haphazard but in accordance to the skopos rule. Moreover, Skopos Theory also provides translators an efficacious way to free themselves from the restraint of ST. Their obligation lies in tailoring TT rendered by them to the ultimate goals of the translation activity, such as informing TT readers about something new, persuading them or so.<br /> <br /> Then, here comes the second rule, coherence rule, also called the intra-lingual rule. It has been widely held that this rule lays much emphasis on the readability and acceptability of TT for TT readers. Imaging there are two translation version of a text, one of which is transparent and intelligible whereas another one of which is rigid and eccentric for people to understand, then which one will be the ideal version for TT readers? The answer is definitely the latter one. The case is that readers are more prone to read TT which conforms to their expressive habits and conventions. This is why the translation strategy, domestication has been frequently adopted when translating some exotic or foreign texts, with a view to catering to TT readers' knowledge.<br /> <br /> The last but not least one rule to be demonstrated is the fidelity rule, or the well-known inter-lingual rule. Here, the loyalty of TT to ST cannot be overstated any more. Bearing a resemblance to Yan Fu's &quot;faithfulness&quot; or Nida's Functional Equivalence Theory, TT must be rendered in conformity with ST. Quite different from Yan Fu's and Nida's standpoints, such a kind of fidelity, however, is determined or constrained by the purposes of TT and the translator's comprehension of ST to a great extent.<br /> <br /> To conclude, in spite of the respective roles played by the above-mentioned three rules in translation practice, the coherence rule and the fidelity rule are outshined by the skopos rule for purposes of TT and translators are the most crucial elements to be considered when we view translation practice from the unique perspective of Skopos Theory.<br /> <br /> ===='''1.2Translation theories,strategies and techniques '''====<br /> Translation theories are the fruitful outcomes yielded thanks to our predecessors'assiduous and relentless work in terms of translation studies. Broadly speaking, translation theories are some guidelines and benchmarks used to facilitate translation practice. They are quite abstract notions but informative and enlightening knowledge to be relied on. With the elapse of time, translation theories also take on historical characteristics, each one of which can be attributed to a certain school, such as the literary school, the linguistic school, the translation studies school and the deconstructionism school. In our modern translation studies, the linguistic school has been deeply rooted in students'minds, including Nida's Functional Equivalence Theory, Vermeer's Skopos Theory, Catford's Translation shift theory, New Mark's semantic translation and communicative translation. Given the limited space in this paper, other prominent translation theories will not be delineated here.<br /> <br /> The interpretation of the word &quot;strategy&quot; by Merriam-Webster's Advanced Learner's Dictionary reads as &quot;a careful plan or method for achieving a particular goal usually over a long period of time.&quot; Applying this word to translation studies, the definition of translation strategies can be defined as a series of principles and plans used to address difficult problems emerging in the process of translation practice. They are subordinate to and influenced by certain translation theories. In translation studies, some prominent dichotomies of translation strategies can be found if viewing from various angles, like the contrast between literal translation and free translation, the juxtaposition of domestication and foreignzation, as well as the comparison between semantic translation and communicative translation. One thing to be underscored here is how to make a rational decision when it comes to the selection of various translation strategies. The aforementioned sentences remind us of the fact that translation theories will exert more or less impacts on our preferences toward some translation strategies. In order to clarify this point, the translation theories of the linguistic school are taken as an example to corroborate the effect of theories on translation strategies. Nida's Functional Equivalence Theory and Vermeer's Skopos Theory are none other than two epoch-making monuments in the translation theories of the linguistic school. In spite of their belongings to the same school, their core concepts and values are distinct from each other to a large extent, thereby offering translators different channels to select translation strategies. Since Functional Equivalence Theory attaches great importance to the natural and exquisite equivalence between TT and ST, the translation strategies of free translation and domestication are often the optimal choice to evade clumsiness and opacity of TT when the literal translation or the word-for-word translation does not work out. Another thing to note is how Vermeer's Skopos Theory helps to elaborate translation theories' function on translation strategies. The purposes of TT and translators are integral factors to decide which translation strategies will be chosen. For example, the translation strategies of foreignization will be considered if the TT aims to promulgate exotic and overseas culture.<br /> <br /> An authoritative concept of the word &quot;technique&quot; given by Collins describes it as &quot;a particular method of doing an activity, usually a method that involves practical skills.&quot; Therefore, translation techniques are quite a few concrete methods and skills helping facilitate and polish the process of translation practice. A list of translation techniques includes amplification, omission, conversion, division, combination, negation and so on. For the reason that English and Chinese are different from each other in terms of lexicon, syntax and culture, the emergence of translation techniques is exceedingly necessary to transfer information from ST to TT by means of translation. Specifically speaking, English and Chinese are unique in their dictions in that English allows more freedom for the usage of nouns while Chinese is a verb-oriented language. This accounts for the plausibility of applying the translation technique of conversion. Besides, the discrepancy between English and Chinese also lies in their respective thinking modes and expressive conventions, thus making the technique of negation come into being.<br /> <br /> ===='''1.3The relationship among translation theories, strategies and techniques '''====<br /> Now that clear and vivid definitions of translation theories, strategies and techniques are provided in the preceding paragraphs, it is high time that the relationship among them should be manifested. Here, the relations among them will be unveiled from two respects. One is the mutually restraint relation among translation theories, strategies and techniques while another is the relationship between the macroscope and the microscope.<br /> <br /> On the one hand, the intricate relationships among those three entities can be said to mutually restrain and complement each other. Translation theories are the most inclusive and macroscopical because of their guiding effects on the application of translation strategies and techniques. They are the overriding important benchmarks around which many other translation strategies and techniques should revolve. It is imperative to note that diversified translation theories beget diversified strategies and techniques. Examples proving this point are innumerable. The theories of deconstructionism promote the use and spread of foreignization. Nida's Functional Equivalence Theory justified the necessity of adopting pertinent translation strategies and techniques to achieve the most natural equivalence between ST and TT, like domestication, literal translation and so on. Translation strategies and techniques are none other than the extension and embodiment of translation theories. For example, the translation strategy of domestication can be only realized with diversified translation techniques. While translating culture-loaded words, the translator can resort to translation techniques of transliteration, amplification to put the domestication into practice. To sum up, translation theories are guidelines for translation strategies and techniques, and those strategies and techniques are in turn the true reflection of theories. It is likely that translators are not aware of this fact for all those theories and strategies have been deeply etched into their mind. Imaging such a situation that a translator is totally fatuous about translation theories, how could he render high-quality translation? What he will do is to translate a text word for word from beginning to end, ultimately producing crude translation. Without exaggeration, it is the collaboration and complementation among translation theories, strategies and techniques that help translators perfectly fulfill their missions.<br /> <br /> On the other hand, another noteworthy relationship among translation theories, strategies and techniques can be regarded as the dichotomy between the macroscope and the microscope. Translation theories are the most high-leveled concept, just like a notion occurring in English linguistics, the superordinate. Thus, certain strategies and techniques are derivations and products of translation theories. Almost for every translator, their translation practice, including the selection of translation strategies and techniques, is always reliant on translation theories. Translation strategies, a concept lying between the two extremes of translation theories and translation techniques, are contained by theories but pave the way for using extraordinary translation techniques. Just like the above-mentioned contents, the most commonly found translation strategies of domestication and foreignization must be guided and restrained by translation theories, like Skopos Theory or Functional Equivalence Theory. But the selection of translation techniques is more or less limited by translation strategies. A good example of that is the application of transliteration to consolidate the effect of foreignization. Ultimately, translation techniques seem to be the most low-leveled concept lying beneath translation theories and strategies. But it is the existence of those techniques that offered translators and scholars a definite direction to conduct translation studies.<br /> <br /> ==='''II.Case Analysis'''===<br /> <br /> ===='''2.1The translation of tourism texts '''====<br /> Tourism texts are one of the most typical genres of pragmatic texts, which are characterized by meticulous depiction of the certain scenery, brilliant dictions and sentence patterns as well as attractive or compelling informative messages for potential tourists. They consist of several pervasive types in people's daily life, such as the introduction to scenic spots, commentaries of tourist guides, tourist pamphlets, tourist contracts, monographs and thesis concerning tourist investigations. Viewing from a much more professional and functional perspective, all those enumerated above can be included into three types: tourist reception, tourist administration and tourist investigations. Accordingly, the translation of tourism texts also revolves around those three kinds. Albeit the diverse classification of texts, central to people's commonplace life are doubtlessly some tourists brochures, also known as a branch of tourist promotional materials (TPMs). &quot;TPMs are described as the collection of media, such as brochures, leaflets, posters, flyers, postcards and websites, used to support the sales of tourism products.&quot; (M. Zain Sulaiman &amp; Rita Wilson, 2019, p.17) Since this paper manages to unfold the relationship among translation theories, strategies and techniques from the perspective of Skopos Theory, the case analysis of tourism translation in the following words is not an exception. Considering that tourism texts, particularly TPMs, are destined to captivate tourists and accomplish lucrative goals, sensible decisions must be made so as to cater to tourists' tastes. Therefore, sometimes considerable superfluous information should be deleted and sometimes other complementary information that is conducive to customers' comprehension should be added. This calls for consideration of Vermeer's Skopos Theory for its overemphasis on functions and purposes of TT. Furthermore, the translation theory just decided will influence and constrain the adoption of translation strategies and techniques. Usually, whether to use amplification or omission will be pondered over by the translator to achieve goals of TT. Apart from the restraint on translation strategies and techniques imposed by translation theories, the former is also an authentic and lengthy reflection and extension of the latter. To say more simply, translation strategies and techniques are selected according to translation theories but also conversely embody or represent notions and connotations of translation theories. Several representative examples are shown here to illustrate the relationship among those concepts pertaining to translation.<br /> <br /> Example 1<br /> <br /> ST:这里三千座奇峰拔地而起，形态各异，有的似玉柱神鞭，立地顶天；有的像铜墙铁壁，巍然屹立；有的如晃板累卵，摇摇欲坠；有的如盆景古董，玲珑剔透……神奇而真实，迷离又实在，令人叹为观止。——《武陵源风景》画册<br /> <br /> TT 1: 3000 crags rise in various shapes. They are like whips or pillars propping up the sky; or huge walls, solid and sound; or immense eggs piled on an unsteady border; or miniature rocky or curious… Fantastic but actual, dreamy but real! One cannot help marveling at the acme of perfection of Nature's creation.<br /> <br /> TT 2: 3000 crags rise in all shapes——pillars, columns, walls, shaky egg stacks and potted landscapes——conjuring up fantastic and unforgettable images.<br /> <br /> Analysis: The ST in example 1 is abridged from a tourism brochure informing tourists of the spectacular, imposing and captivating landscapes of Wulingyuan Scenic and Historic Interest Area. Adjectives and images abound in here to intensify the mystery and solemnity of this renowned scenic spot. There is no doubt that Chinese readers of the ST will take it for granted that the usage of all those idiomatic expressions added more melodious and semantic beauty to the ST. On the contrary, the TT, if rendered by translating the ST word for word, is bound to baffling a great majority of TT readers whose native languages are not as abstract as Chinese. Compared with TT 1's awkward literal translation, TT 2, instead of retaining all sentences of the ST, boldly obliterated adjectives and figures of speech, including &quot;立地顶天&quot;, &quot;摇摇欲坠&quot;, &quot;玲珑剔透&quot; and etc. Only some essential elements can be found there to indicate principal messages of that tourist attraction, which not only reduced TT readers' burden of comprehension but also achieved the goal of the TT. For the purpose of satisfying TT readers' requirements, the translation theory, here represented by Skopos Theory, played a leading role in selecting relevant translation strategies and techniques to eliminate the clumsiness and rigidity of version 1. The translation technique of omission is also an extension and reflection of Skopos theory. The relationships among translation theories, strategies and techniques are overt.<br /> <br /> Example 2<br /> <br /> ST:被誉为“童话世界”的九寨沟位于中国四川省阿坝藏族羌族自治州境内的九寨沟县中南部，是长江水系嘉陵江中上游白水河源头的一条支流，因景区内有荷叶、书正、则查洼等九个藏族村寨而得名。<br /> ——《九寨沟风景名胜区简介》<br /> <br /> TT: Jiuzhaigou, known as the &quot;Fabled World&quot;, is located in the mid-south of Jiuzhaigou County of Aba Tibetan and Qiang Autonomous Prefecture. A Jialing tributary of Yangtze River, Jiuzhaigou is named for the nine Tibetan settlements in the mountain valley.<br /> <br /> Analysis: Similar to Example 1, this ST is also a tourism text whose aim is to spread enough information of the resort to approaching tourists. Taking tourists' stances, a brief introduction of major scenic spots in Jiuzhaigou enjoys more popularity than its geographical location. Here, the translator, in dealing with TT, should distinguish the basic from the secondary, which is the reason why the names of villages like &quot;荷叶&quot;, &quot;书正&quot; and &quot;则查洼&quot; in the ST disappeared in the TT. Apart from the emphasis on the most important message, other factors also account for the deletion of the redundant words, such as the limited space of tourist brochures, the succinct and simple writing style of travel guides and so on. Actually speaking, it is all those functions and demands of tourism brochure that regard Skopos Theory as the ideal translation theory to be taken into consideration. Under the guidance of the Skopos Theory, the translation technique of omission makes it possible to underscore more key information about Jiuzhaigou rather than some background information serving no function in helping tourists. The complementary relations among translation theories, strategies and theories are also suggested.<br /> <br /> Example 3<br /> <br /> ST:刘备章武三年病死于白帝城永安宫，五月运回成都，八月葬于惠陵。——《成都武侯祠》折叠式导游图<br /> <br /> TT: Liu Bei died of illness at 233 at present day Fengjie County, Sichuan Province, and was buried here in the same year.<br /> <br /> Analysis: Despite the fact that this ST is also part of a tourist brochure, there are some nuances among it and the above two examples for this is a pamphlet about historic sites whereas the other two are concerned with natural sites. Given this difference, some words and phrases suggestive of cultural elements peculiar to China resulted in the selection of appropriate translation strategies. Here in example 3, &quot;章武三年&quot;, &quot;白帝城永安宫&quot; and &quot;惠陵&quot; are all closely associated with ancient Chinese culture. If translated literally as &quot;the third year of Zhangwu&quot;, &quot;Yongan Palace in Baidi City&quot; and &quot;Hui Mausoleum&quot;, these phrases will leave TT readers an obscuring impression because of foreign readers' loopholes in learning about Chinese culture. Under this circumstance, the translation strategy of domestication applied increased the lucidity, intelligibility and simplicity of the TT. &quot;章武三年&quot; is translated into &quot;233&quot; which is applicable and comprehensible to TT readers from all countries. &quot;白帝城永安宫&quot; is flexibly treated as &quot;Fengjie County, Sichuan Province&quot;, a present place known to reduce TT readers' strangeness towards it. After all, one cannot deny the fact that the adoption of domestication is due to the influence of Skopos Theory whose ultimate aim is to live up to the expectations of TT readers. This is also in line with the main point of this paper that translation theories are standards and guidelines of translation strategies and techniques, and translation strategies or techniques are authentic reflection of translation theories.<br /> <br /> ===='''2.2The translation of literary texts '''====<br /> Literary texts are materials having to do with literature. Genres like poems, novels and dramas can be all classified into this category. Unlike applied translation whose principal subject is characterized by austere, transparent and common dictions, literary texts, represented mainly by prose, are always hard to explore their implicit connotations, let alone translating them in an ideal way. This is because literary works are often a medley of rhetorical devices, beautiful words and phrases as well as some abstract sentences without too much logic. It is this exceedingly difficult trait that requires the translator to rationally inspect translation theories. In the case of translating literary texts, two translation theories will come to translators' minds, which are Skopos Theory and Functional Equivalence Theory. Making a detailed comparison between them, one will attach great importance to Skopos Theory rather than its counterpart. After all, Functional Equivalence Theory pays more attention to dynamic or functional equivalence between ST and TT, which is a little bit unrealistic to be materialized for the translator sometimes cannot find perfect substitutes to replace the opaque ST. Nevertheless, Skopos Theory can be a plausible translation theory to better balance ST and TT by means of omitting some unrelated information provided that the purposes of the TT can be ensured. This is also indicative of the point that translation theories play a significant part in restraining the adoption of translation strategies and techniques. Then translation strategies and techniques are in the same way a reflection or a microcosm of translation theories. For example, the appearance of omission during the process of translating literary texts must be the outcome of Skopos Theory since only that theory will take the bold action to omit lots of sentences in an article, which is impossible when the translator complies with the credence of Functional Equivalence Theory.<br /> <br /> Example 4<br /> <br /> ST: One of the parties, however, when critically examined, didn't seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gaily with yellow spots, and arranged with a flaunting glass tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedeckeded with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors, attached to it--, which in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray's Grammar, and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.——''Uncle Tom's Cabin'' <br /> <br /> TT:其一人狞丑，名曰海留，衣服华好，御金戒指一，镶以精钻，又配一金表。状似素封，而谈吐鄙秽，近于伧慌。（林纾译）<br /> <br /> Analysis: The TT is rendered by one of the most distinguished translators in Late Qing Dynasty, Lin Shu, whose major contribution is his translation of voluminous foreign novels, such as ''Ivanhoe'', ''Uncle Tom's Cabin'' and so on. Against the backdrop of the depraved and backward Qing Dynasty, What Lin Shu emergently wanted to do is to learn from foreign literature and culture, thus arousing people's awareness of national rejuvenation. For this reason, Lin Shu's translation seems to be infidel to the ST for his deletion of a plethora of dictions but can be rational if viewed from the perspective of Skopos Theory. With the consciousness that Linshu's translation aims to transferring the most outstanding information conveyed in the ST, one will not consider it eccentric to translate in that way although the translator omitted so many elements in that short paragraph, including the typical portray of the environment, the descriptive sentences about the outfit and accessories of the protagonist together with some other summary expressions. In a word, the aim of the TT justified Skopos Theory and then, decided the translation technique of omission to take the essence and discard the dross of the ST. And the translation technique of omission is in turn an embodiment and representation of Skopos Theory.<br /> <br /> Example 5<br /> <br /> ST: 宝玉忽想起来辞黛玉，因又忙至黛玉房中来作辞。彼时黛玉才在窗下对镜理妆，听宝玉说上学去，因笑道：“好，这一去，可定是要‘蟾宫折桂’去了。我不能送你了。”——《红楼梦》<br /> <br /> TT1: Pao-yu, remembering that he had not say good-bye to Tai-yu, hurried to her room. She was sitting before her mirror by the window and smiled when he told her that he was off to school. &quot;Good,&quot; she said, &quot;So you are going to 'pluck fragrant osmanthus in the palace of the moon.' I am sorry I can't see you off.&quot; (Yang Xianyi)<br /> <br /> TT2: Bao-yu suddenly remembered that he had not yet seen Dai-yu and hurried to her room to say good-bye. He found her by the window making herself up at the mirror. Her answer to his announcement that he was off to begin school was smiling but perfunctory: 'Good. I wish you every success. I'm sorry I can't see you off.'(Hawkes)<br /> <br /> Analysis: The ST is a small part excerpted from ''A Dream of Red Mansions'' written by an extremely eminent novel writer named after Cao Xueqin in Qing Dynasty. This abridgement delineated the scene that Jia Baoyu went to say goodbye to Lin Daiyu for he was to off to school. Accordingly, there are two deceivingly similar but actually different versions of the TT rendered respectively by Yang Xianxi, a renowned Chinese translator and David Hawkes, a world-famous sinologist specializing in translating Chinese classics. At the core of this case analysis must be the translators' rendition of the specific Chinese phrase &quot;蟾宫折桂&quot;. Yang translated it literally and directly as &quot;pluck fragrant osmanthus in the palace of the moon&quot;, maintaining the exclusive Chinese images &quot;osmanthus&quot;. In contrast, Hawkes transformed the ST into &quot;I wish you every success&quot;, exquisitely circumventing words which may be difficult to understand for foreign TT readers. Frankly speaking, the superiority and inferiority of the two versions cannot be arbitrarily dealt with. Now that Skopos Theory states that &quot;aim justifies end&quot;, the TT can be produced to tailor the purpose and need of TT readers. In the first version, the translation strategy of foreignization retained the exotic Chinese plant name and increased strangeness of TT readers. This strategy is an advisable one to disseminate some certain cultures to foreigners. Nonetheless, Hawkes's translation is easier to be accepted by foreign TT receptors for he applied the translation strategy of domestication to make the translator get accustomed to TT readers' reading habits and multiple cultures. Now the phenomenon that translation theories serve as a guide for translation strategies and techniques is corroborated once again. Similarly, translation strategies and techniques are the best representation of translation theories, just like domestication and foreignization are the representation and extension of Skopos Theory in this example.<br /> <br /> Example 6<br /> <br /> ST: 她像是受了炮烙似的缩手，脸色同时变作灰黑，也不再去取烛台，只是失身的站着。——《边城》<br /> <br /> TT: She withdrew her hand as if scorched, her face turned ashen-grey, and instead of fetching the candlesticks she just stood there dazed.<br /> <br /> Analysis: The ST is abstracted from ''Remote City'' written by Shen Congwen. This long novel takes country life in West Hunan as the writing material to display the seemingly mediocre but specifically meaningful human nature. It is known to all that the novel ''Remote City'' is brimmed with cultural-loaded words in order to deeply extract hidden mysterious things of the human nature. Of course, this source text is not an exception. In example 6, the Chinese word &quot;炮烙&quot; is a ruthless penal created by King Zhou of Shang Dynasty to fasten people on a large pillar heated by strong fire so that people will be scalded gradually until to their death. But if the translator translates this word literally, foreign TT readers will at a loss especially when they are not familiar with the history of Shang Dynasty. Consequently, the translator here just converted &quot;炮烙&quot; into “scorched” by adopting the translation strategy of domestication, assuaging TT readers' fatuity and strangeness towards the ST. This translation strategy is also impacted by Skopos Theory but in turn validates and broadens the usage of the translation theory. Seeing from this, the entangled relationships among translation theories, strategies and techniques cannot be overemphasized.<br /> <br /> ===='''2.3The translation of business texts '''====<br /> Business English, an increasingly inevitable term for people to encounter in today's world, has permeated into almost every corner of people's daily life. As for its definition, scholars of different eras vied with each other to illustrate it. For example, Wang Xingsun defined business English as &quot;English used in the business context&quot;. &quot;It is also English for Special Purposes (ESP).&quot; (王兴孙,1997:24) Nowadays, researches about business English have been formalizing and standardizing the definition and application of business English. A relatively precise and comprehensive concept of business English reads as &quot;Business English refers to a certain type of English emerging along with the advancement of economic globalization. It is used in various fields, ranging from economic to public and societal affairs.&quot; (陈准民,王立非,2009) Then business texts must be carriers of business English, with their type encompassing business logos, business advertisements, business contracts, business letters and the brief introduction of corporations. A subtle but unavoidable thing to note is that business English is by no means the simple combination of &quot;business&quot; and &quot;English&quot;. Instead, it brought out a multitude of new features to showcase its complexities, including its utility in professional domains and its highly functional usages. So the most tenable translation theory is more apt to be Skopos Theory in consideration of the functional characteristics of business texts. Subsequently, the restraining and guiding translation theory will work out to match proper translation strategies and techniques to the translation practice to meet the requirements of both TT readers and the TT itself. What is more, the reflective translation strategies and techniques appearing during the process of translation help people better understand Skopos Theory. On account of that, there is no denying that the interplay among translation theories, strategies and techniques is further proved.<br /> <br /> Example 7<br /> <br /> ST: Fresh food and fresh air. The perfect recipe for a healthy life. I've chosen. It's Candy.——Candy冰箱广告词<br /> <br /> TT1:新鲜食物和新鲜空气。健康生活的最佳处方。我已经做出选择，它就是Candy冰箱。<br /> <br /> TT2:新鲜食物+新鲜空气。健康生活的绝妙处方。我选定了Candy冰箱。<br /> <br /> Analysis: This is a task of translating an English business advertisement into Chinese. Notwithstanding this short sentence, a satisfying and applicable translation is hard to be rendered for so many limitations imposed by business advertisements. Business advertisements, known for their adherence to the &quot;economic principle&quot; of expressing the most detailed information with the least words and sentences, are doomed to pose several challenges for translators. To translate those advertisements near perfectly, translators must recourse to Skopos Theory to transfer the information conveyed by the ST to the TT readers in a succinct way. Here come to those two translation versions. TT 1 is doubtlessly the outcome of literal translation, which not only increased the cost of issuing that advertisement for many words of it but also left TT readers an impression of redundancy. Compared with TT1, TT 2 dexterously omitted &quot;我已经做出选择&quot; and superseded the Chinese word &quot;和&quot; with the punctuation of &quot;+&quot;, taking on the creativity and agility of the translator. At this time, the relationship among translation theories, strategies and techniques can be reaffirmed. The former offered a reasonable direction to the latter two concepts, and the latter two also reinforced the existing functions of the former.<br /> <br /> Example 8<br /> <br /> ST: Next is Now. ——三星S6系列手机广告词<br /> <br /> TT1:未来即现在。<br /> <br /> TT2:让未来，现在就来！<br /> <br /> Analysis: The ST in example 8 is also a business advertisement attentive to the selling of Samsung cellphones. This one justly accorded with all the remarkable traits of business advertisements, namely the conciseness, lucidity and catchiness. Generally speaking, both the two versions of translation are acceptable. But to delve into more details, version 2 is overwhelming greater than version 1 because of the fact that it can better cater to the future developing trend of Samsung cellphones. Through this advertisement, the advertisers actually want to do is to give top priority to the future. The translation version of &quot;未来即现在&quot; will easily lead people to be engrossed in the present while the version of &quot;让未来现在就来&quot; paid more attention to the future of Samsung cellphones. Also, TT 2 sketched a scene of early approaching of the future, suggesting the fact that the cellphones invented now can anticipate some of high-ended functions of future electronic products. Without doubt, Skopos Theory is the main driver of this translation practice. The translation technique of adaptation can be found here by changing the sentence pattern of the TT, thus achieving some unimaginable effects. Here, it is Skopos Theory that decided and guided the selection of the translation technique of adaptation. Also, that technique will exert counter-effects on Skopos Theory to expose the functions and purposes of the TT.<br /> <br /> Example 9<br /> <br /> ST:三元产品设计工作室虽然身处竞争激烈、你死我活的商业环境之中，但是我们对完美、创新设计的追求却一如既往、不折不扣。我们的作品风格总是别具一格、独一无二。——《三元产品设计工作室简介》<br /> <br /> TT: 3 Elements Product Design Studio works in a highly competitive market. Our pursuit of perfection and innovation is as ever. Our design is always unique.<br /> <br /> Analysis: The ST in example 9 is excerpted from the introduction of a corporate named after 3 Elements Product Design Studio. The key point in the TT is the translation of Chinese four-character phrases into single English words. On the one hand, such an action is in line with J.C. Catford's translation shift theory, especially the unit shift theory. On the other hand, it is also Hans Vermeer's Skopos Theory that underlies that transformation. Idiomatic expressions, like proverbs, four-character expressions, are known to abound in Chinese, which bewildered countless western Chinese learners. What translators are obligated to do is to change the complex into the simple. Then several four-character expressions in the ST, including &quot;一如既往&quot;, &quot;不折不扣&quot;, &quot;别具一格&quot; and &quot;独一无二&quot; have been translated into &quot; as ever&quot; and &quot;unique&quot;. More specifically, the translation techniques of adaptation and division are also adopted here just like that in example 8. As for the translation technique of adaptation, the phrase structures of the TT have turned into word structures. About the translation technique of division, the 2 sentences in the ST have been divided into 3 sentences in the TT with a view to underlining topic of each sentence. This opened up a new world for TT readers that the same translation technique can be guided and constrained by different translation theories. Hence, translators have to be sensitive and acute enough to perceive differences among translation theories, strategies and techniques so that the translation practice can yield fruitful outcomes. To conclude, translation theories still guide translation strategies and techniques. Those strategies and techniques still complement translation theories.<br /> <br /> ==='''III.Summary and conclusion'''===<br /> This paper is persistently talking about the relationships among translation theories, strategies and techniques, aiming to solve more puzzles haunting translators when they are engaged in relentless translation practice. With so many spaces left to the elaboration of such a complicated issue, this paper thus arrived at the conclusion that the relationships among translation theories, strategies and techniques lie in two respects. One is the relationship between the macroscope and the microscope, translation theories being the most inclusive and translation techniques being the most subordinate, with the translation strategies lying between those two extremes. Another is the relationship of guiding and complementing. To be honest, translation theories bear a resemblance to the lighthouses, which are always offering clues for the selection and adoption of translation strategies and techniques. Of course, translation strategies and techniques are also indispensable to translation theories for they can put translation theories into practice. Lacking those strategies and techniques, the connotation, significance and function are just the illusion.<br /> <br /> This paper starts with the introduction of Vermeer's Skopos Theory, the definition of translation theories, strategies and techniques, and the interpretation of the relationships among those three concepts. After all those preparatory steps, the case analysis part analyzed the relationships among translation theories, strategies and techniques from the perspective of three different kinds of texts, embracing tourism texts, literary texts and business texts. Almost all the translation of those texts are on the basis of Skopos Theory, with many other translation strategies and techniques applied, such as domestication, foreignization, omission, adaptation and so on. Finally, here comes the concluding and summary part of this paper, in which the rough structure and the motif of this paper have been clarified again.<br /> <br /> ==='''IV.References'''===<br /> [1]杨先一.林纾及其翻译——以《黑奴吁天录》为例[D]青岛:山东大学,2009.<br /> <br /> [2]Cao Xueqin. ''The Story of the Stone'' [M].London: Penguin,2004.<br /> <br /> [3]董晓波,翻译概论[M].北京:对外经贸大学出版社,2012.<br /> <br /> [4]郭晓燕,商务英语翻译[M].北京:对外经贸大学出版社,2017.<br /> <br /> [5]杰里米•芒迪，翻译学导论——理论与实践[M].北京:商务印书馆,2007.<br /> <br /> [6]Wilson Rita &amp; Sulaiman, M, Z. ''Translation and Tourism: Strategies for Effective Cross-cultural Promotion'' [M].Singapore: Springer,2019.<br /> <br /> [7]Tsao Hsuen-Chin &amp; Kao Hgo. ''A Dream of Red Mansions'' [M].Beijing: Foreign Languages Press, 1994.<br /> <br /> [8]熊兵. 翻译研究中的概念混淆——以“翻译方法”、“翻译策略”和“翻译技巧”为例[J].中国翻译,2014(3):82-88.<br /> <br /> [9]董川, 陈玲.武术翻译的策略、方法和技巧研究[J].体育世界（学术版）,2020(1):55-56.<br /> <br /> [10]焦炭,张辉.旅游景点解说词翻译方法与策略——以亳州市旅游景点解说词英译为例[J].中国民航飞行学院学报,2019(3):42-46.<br /> <br /> [11]韩婷婷.目的论视角下的茶文化文本的翻译策略探究[J].福建茶叶,2020(9):298-299.<br /> <br /> [12]宋玉露.目的论视域下葛浩文《丰乳肥臀》译本研究[J].青年文学家,2020(32):31-32.<br /> <br /> [13]莫红利.目的论视角下企业简介的英译原则与策略[J].考试周刊,2014(6):79-81.<br /> <br /> [14]王兴孙.对国际商务英语学科发展的探讨[J].国际商务研究:1997(1):24-28.<br /> <br /> [15]陈准民,王立非.解读《高等学校商务英语本科专业教学要求》（试行）[J].2009(4):4-11.<br /> <br /> ==Contemporary Study on Nida's Functional Equivalence and Skopos Theory 聂晓楼 Nie Xiaolou==<br /> <br /> ==On the concept of equivalence in translation 彭娟 Peng Juan==<br /> <br /> ==The Application of Functional Equivalence to Translation of Rhetorical Devices in The Nightingale and the Rose 彭小玲 Peng Xiaoling==<br /> <br /> ==Exploration of Translation Studies and Comparison Between Skopos Theory and Nida’s Functional Theory 彭育志 Peng Yuzhi==<br /> <br /> ==On the Translation of English Film Title from the Perspective of Skopos Theory 杨悦 Yang Yue==<br /> <br /> ==On the Translation of Resume from the Perspective of Skopos Theory 肖双玲 Xiao Shuangling==<br /> <br /> ===Abstract===<br /> <br /> With the rapid development of China’s economy and the deepening of reform and opening up, more and more foreign-funded enterprises are coming to China to invest and set up factories, and more and more Chinese are going to work in foreign companies or abroad. For foreign job seekers, English resumes are often more important than Chinese ones. Many job seekers think that the English resume is verbatim translation into English, however, the result not only fails to reflect their own English level, but also brings obstacles to the job search, leading to the opposite effect. By analyzing the differences between Chinese and English resumes, this paper attempts to solve the problems in the translation of Chinese resumes based on Skopos theory, so as to improve the quality of the translation and make the job-seeking process more successful. Skopos theory is the basic principle of translation activities. Based on the differences of the object, role and emphasis between Chinese and English resumes, analysis of the differences and the problems that arise in the translation process are necessary. This essay tries to find out effective methods for C-E translation of resumes under Skopos theory approach and thus makes job-hunting easier for applicants.<br /> <br /> ===Key words:===<br /> <br /> Skopos theory; resume; translation<br /> <br /> ===摘要:===<br /> <br /> 中国经济的快速发展和改革开放的深入，越来越多的外资企业来中国投资建厂，越来越多的中国人去外企或国外工作。对于外国求职者来说，英文简历往往比中文简历更重要。很多求职者认为英文简历就是自己的中文简历逐字翻译成英文，然而，这样的结果不仅不能反映自己的英语水平，还给求职带来了障碍，导致了相反的效果。本文通过分析中英文简历的差异,试图从目的论的角度来解决中文简历翻译中存在的问题，从而提高翻译质量，使求职过程更加顺利。目的论是翻译活动的基本原则。基于中英文简历的对象，作用和重点的差异，分析翻译过程中出现的差异和问题是必要的。本文试图找到在目的论理论方法下简历英译的有效方法，从而使求职者更容易找工作。<br /> <br /> ===关键词:===<br /> <br /> 目的论；简历；翻译<br /> <br /> ===Introduction===<br /> <br /> For job seekers, when applying for foreign-funded enterprises, a standardized English resume is essential, which not only reflects the applicant's personal information, ability and qualifications, but also reflects the applicant’s English level and awareness of cross-cultural communication to a certain extent. This paper focuses on the English translation of Chinese resumes and the characteristics and norms of English resumes, and puts forward solutions to the above problems. This paper suggests that the translation of resumes should be oriented towards the communicative purpose. By studying the characteristics and functions of resumes, the author discusses the C-E translation of resumes from three aspects: words, sentences and texts. The study has found that simplicity and clarity are the two criteria for resume translation. In addition, when translating resumes, translators should give priority to free translation with literal translation as a supplement. This paper can be divided into three parts. Chapter one is an overview to resumes, including linguistic features and qualities of translators. Then in the second chapter, the development and basic principles of Skopostheory will be discussed. In the last chapter, the application of Skopostheory on the translation of resumes will be explored at lexical, syntactic and stylistic levels.<br /> <br /> ===Chapter 1 Introduction of Resume===<br /> <br /> A resume is a written communication document that shows a prospective employer that you have the skills, attitude, qualifications, and confidence to meet specific job requirements. In order to attract employer’s attention and interest, a qualified resume is definitely indispensable. In this part, definition and features of resume and differences between Chinese and English resume are going to be explored.<br /> <br /> ===1.1 Definition of Resume===<br /> <br /> According to the explanation from the noted and authoritative encyclopedia—Wikipedia, a résumé or resume is a document used by a person to present their backgrounds and skills. Resume can be used for a variety of reasons, but most often it is used to secure new employment.<br /> A typical resume contains a “summary” of relevant job experience and education. The resume is usually one of the first items, along with a cover letter and sometimes an application for employment, which is typically used to screen applicants, often followed by an interview.<br /> <br /> ===1.2 Features of Resume===<br /> <br /> Resume needs to be optimized but the connotation is more important. Before the resume is submitted, it must have a clear career direction. This is the key to the success of the application. However, many people do not know their job search direction before writing a short calendar. Most people are confused about their job search direction, so it is not advisable to write a job search intention or write too much on the resume. Just as you can see a wide variety of advertisements every day, hiring managers also face a variety of resumes every day. How can a resume stand out? How do you let the recruiter notice you at a glance? How do you let the recruiter believe that you are the “talent” they are looking for and generate ideas for further interviews? In fact, as long as you follow the features when you create your resume, you will get an interview.<br /> <br /> ===1.2.1 Conciseness===<br /> <br /> When you’ve done with your resume, weigh it and see whether you can read all the things that you think are important in ten seconds or not. Generally speaking, the length of a resume should be limited to 1 page of A4 paper. The longer a resume is, the less likely it is to be read carefully. High-end talents can sometimes prepare resumes of more than 2 pages, but they also need to have a brief and clear overview of the qualifications at the beginning of the resume, so that readers can grasp the basic situation in a short period of time and have the desire to read further.<br /> <br /> ===1.2.2 Clarity===<br /> <br /> The purpose of clarity is to make it easy to read. Just like making a print ad, the layout of the resume needs to take into account factors such as font size, line and segment spacing, and highlighting of key content.<br /> <br /> ===1.2.4 Pertinence===<br /> <br /> If you submit the same resume for different industries, different companies and different positions, then what is deficient in such a resume is pertinence.<br /> If Company A requires you to have relevant industry experience and good sales performance, you clearly stated the relevant experiences and facts in your resume and put them in a prominent position. This is targeted; if Company B requires you to have good oral English ability, you described your experience in amateur foreign-related business translation in your resume, which is targeted; if Company C explicitly requires candidates to have Shanghai hukou, you indicate in your resume that you are a resident of Shanghai Pudong District, this is targeted. It is not only a resume, but also a very important principle when writing job letters, follow-up letters, and thank-you letters.<br /> <br /> ===1.2.5 Objectivity===<br /> <br /> I am a person who is rigorous and responsible, and I have a very good job performance in my past work. Similar sentences can often be seen in many people's resumes. Perhaps it is true, but the wise human resources director will never believe in such subjective confession. Therefore, the resume should provide objective proof or facts and data supporting your qualifications and abilities. For example, in 2008, I was awarded by the company for ranking the first in sales performance or I was praised by the manager for my good coordination and organization ability in an exhibition activity. The latter is obviously less objective than the former. Also, to be as objective as possible, first-person “I” should be avoided in your resume.<br /> <br /> ===1.3 Differences between Chinese and English Resumes===<br /> <br /> Although resumes in both Chinese and English are basically the same in form and content, the English resume is not a hard copy of the Chinese resume. Recognizing the difference between the two is the first problem to be faced in the translation work. HRs pointed out that the Chinese and English resumes have the following differences.<br /> <br /> ===1.3.1 Role of Resume===<br /> <br /> If you apply for domestic enterprises and institutions, the submission of a Chinese resume is the first step of the job, English resume plays a supplementary role to the Chinese resume; But for the foreign capital enterprise and the multinational corporation's candidate, the English curriculum vita is a stepping stone for job hunting, and will reflect the candidate’s ability and the quality, which is the key to obtain the interview opportunity.<br /> <br /> ===1.3.2 Reading Target of Resume===<br /> <br /> According to the different reading objects, the Chinese resume should conform to the Chinese reading habits, and the English resume should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”① Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy content. Companies that are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.<br /> <br /> ===1.3.2 Reading Target of Resume===<br /> <br /> According to the different reading objects, the Chinese resume should conform to the Chinese reading habits, and the English resume should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”① Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy content. Companies that are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.<br /> <br /> ===1.3.3 Focus of Resume===<br /> <br /> In order to attract attention in the fierce competition, the design and packaging of some resumes of Chinese job seekers are extremely beautiful and long, more than 2 pages or even 3 pages, all of which are not obvious, and some are accompanied by art photos and various certificates. Pieces make the resume as thick as a magazine. English resumes are often only one page long, concise, relevant, personal, and focused on key words and action words. The keywords describe the practical experience and professional skills necessary for doing a good job. Today, when the computer screening resume system is widely used, the specific keywords appear in the resume is the only rule for job seekers to successfully obtain interviews with foreign companies. Behavioral verbs are mostly transitive verbs, indicating a specific action required to complete a task. Behavioral verbs play a behavior-oriented role in resumes. The so-called behavior-oriented meaning is to use facts to speak, not just to present results. Here are examples:<br /> <br /> ①expressing personal accomplishments:accomplish, achieve , improve, promote, etc.; <br /> ②indicating administrative capabilities: arrange, administer, execute, decide, etc; <br /> ③representing interpersonal communication skills:negotiate, persuade, present, etc; <br /> ④expressing innovation:create, develop, design, launch, etc. <br /> <br /> The use of behavioral verbs is essential for job seekers to demonstrate the core competencies and personal talents that companies require. For example, manage a group of 20 employees and motivate the whole sales team are more attractive than in charge of 20 employees, responsible for the whole sales team, giving a kind of action-like impression and enabling candidates to quickly get the attention of HR and stand out from the crowd.<br /> <br /> ===Chapter 2 Theoretical Framework===<br /> <br /> Skopos theory, unveiled by German functionalist scholar Vermeer and Christiane Nord, is a theory that applies Skopos concept to translation. Its core concept is that the main factor of translation process is the purpose of overall translation behavior. In this context, the translator should adopt strategies or methods appropriate to the translation purpose. This theory represents an innovation compared with the existing translation theories and defines translation as a creative activity. In this chapter, the author of the dissertation focuses on the introduction of Skopos, which involves the background information and principles of Skopos theory.<br /> <br /> ===2.1 Overview of Skopos Theory===<br /> <br /> In the 1970s, functionalist translation theory emerged in Germany. Its development has gone through the following stages.<br /> <br /> The first stage: Katharina Reiss introduced functional categories into translation criticism for the first time, connected language functions, discourse types and translation strategies, developed a translation criticism model based on the functional relationship between source text and target text, and thus proposed the rudiments of functionalism. Reiss thought that the ideal translation should be a comprehensive communicative translation, that is, the translation should be equivalent to the original in terms of conceptual content, language form and communicative function, but the functional features of the translation should be given priority in practice.<br /> <br /> The second stage: Hans Vermeer put forward Skopos theory, which freed translation studies from the bondage of original source-centered theory. This theory holds that translation is a purposeful and resultful behavior based on the original text. Translation must follow a series of rules, among which the law of purpose takes a leading role. In other words, the translation is dependent on the purpose of the translation. In addition, translation should follow the “law of intra-linguistic coherence” and “law of inter-linguistic coherence”. The former implies that the translation must be internally coherent, which is understandable in the eyes of the recipient, while the latter means that there should be coherence between the translation and the original. After these three principles are put forward, the criterion for judging translation is no longer “equivalence”, but the adequacy of the translation to achieve the desired goal. Vermeer also put forward the concept of translation commission, that is, the translator should decide whether, when and how to complete the translation task. That is to say, translators should adopt corresponding translation strategies according to different translation purposes, and have the right to decide what content of the original text can be retained and what needs to be adjusted or modified according to the translation purpose.<br /> <br /> According to Vermeer, the supreme law in translation should be the law of purpose. That is to say, different translation purposes, translation strategies, methods are also different. In other words, the purpose of translation determines the strategies and methods of translation. “Skopos theory” has given a good explanation of the disputes between domestication and foreignization in the history of translation between China and the west, as well as the widely discussed formal equivalence and dynamic equivalence in the translation field in the past 20 or 30 years. Whether to adopt domestication or foreignization in translation depends on the purpose of translation. Since functional translation theory takes “the principle of purpose” as the highest criterion and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and stimulate the audience's desire to watch. Therefore, we need to have a brief understanding of functional translation theory, especially Skopos theory.<br /> <br /> The third stage: Justa Holz Manttaridrew on the theory of communication and behavior, proposed the theory of translation behavior, and further developed the functionalist translation theory, which regarded translation as the interaction between people driven by purpose and oriented by translation results. This theory and teleology have a lot in common, and Vermeer later merged the two.<br /> <br /> The fourth stage: Christiane Nord comprehensively summarized and improved the functionalist theory. For the first time, Christiane Nord systematically elaborated the internal and external factors to be considered in text analysis in translation, as well as how to formulate translation strategies suitable for the purpose of translation based on the functions of the original text. Christiane Nord sorted out various theories of functionalism and proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.<br /> <br /> ===2.2 Principles of Skopos Theory===<br /> <br /> Skopos rule, coherence rule, fidelity rule and loyalty rule are four principles of Skopos theory, among which there exists inter-relationships. In the following part, Skopos theory will be explained in a detailed way.<br /> <br /> ===2.2.1 Skopos Rule===<br /> <br /> From the perspective of Skopos theory, the primary principle to be followed in all translation activities is the “purpose principle”, that is, translation should be able to function in the context and culture of the target language in the way expected by the recipient of the target language. The purpose of the translation behavior determines the process of the entire translation behavior, that is, the method of decision-making. However, translation activities can have multiple purposes, which can be further divided into three categories :(1) the basic purpose of the translator (such as making a living); (2) the communicative purpose of the translation (such as enlightening the readers); (3) the purpose to be achieved by using a particular means of translation (such as literal translation according to the structure of a language in order to illustrate the special features of the grammatical structure). However, in general, “purpose” refers to the communicative purpose of the target text, that is, “the communicative function of the target text in the socio-cultural context of the target language for the target language reader”. Therefore, the translator should make clear his specific purpose in a given translation context, and decide which translation method to adopt-- literal translation, free translation or something in between.<br /> <br /> ===2.2.2 Coherence Rule===<br /> <br /> Coherence rule, also known as intra-textual coherence rule, holds that the target text should meet the criteria of textual coherence. In other words, the translator should understand the reader’s cultural background and social environment when translating the text. Under the guidance of coherence rules, the comprehensibility of the target text is prior to the authority of the original. That is to say, the recipient’s feelings must be taken into account.<br /> <br /> When the translator applies the coherence principle, the target language must be coherent enough to make the recipient understand the whole text. In other words, the translator should follow the principle of coherence and properly adjust the syntactic structure or words in the target language, so as to maintain the coherence of the original text.<br /> <br /> <br /> ===2.2.3 Fidelity Rule===<br /> <br /> According to the fidelity rule, the relationship between source text and target text can be regarded as the fidelity of source text to target text. However, the degree of fidelity depends on the translator, because it is important for him or her to translate and understand the purpose of the original text. At the same time, the translator should be faithful to both the original author and the intention of the author. Therefore, faithful teleology attaches great importance to and tries to determine the relationship among the translator, the author and the receiver.<br /> <br /> ===2.2.4 Loyalty Rule===<br /> <br /> This was put forward by Nord. She found two major defects in Skopos theory. First, people from different cultural backgrounds have different views on a good translation due to the differences in cultural models. In addition, if the communicative purpose of the translation required by the principle of purpose is just opposite to the intention of the original author, then we will abide by the principle of purpose and violate the principle of fidelity. Therefore, Nord proposed the loyalty principle to solve the cultural differences and the relationship between the participants in translation. According to Nord, translators have a moral responsibility to the recipients of the translated text and must explain to them what they have done and why. This is one aspect of the loyalty principle. Another aspect of this principle is that the translator should be loyal to the original author. The translator should respect the original author and coordinate the target language of the translation with the intention of the author. Therefore, the principle of loyalty mainly focuses on the relationship between the translator and the original author, the client, the recipient of the translation and other participants in the translation process. Nord proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.<br /> <br /> In a word, these four principles constitute the basic principles of Skopos theory of translation, but the principle of coherence, the principle of loyalty and the principle of loyalty must be subordinated to the principle of purpose, which is the primary principle of Skopos theory.<br /> <br /> ===Chapter 3Application of Skopos Theory in C-E Translation of Resume===<br /> <br /> From the above, the author has studied some basic knowledge of resume and Skopos theory. In this chapter, the applied of Skopos theory on C-E translation of resume will be discussed, especially, we are going to analyze the translation from lexical, syntactic and textual respectively, which is the most crucial part in the dissertation.<br /> <br /> ===3.1 Application of Skopos Theory in Lexical Translation===<br /> <br /> The selection of English words plays an important role in the translation of resumes. On the one hand, the choice of a good English word can help shorten long sentences and make the resume more convenient and comfortable to read; on the other hand, due to the ambiguity of English words, correct choice of words can solve the ambiguity problem. In order to solve the above problems, using a large number of action verbs, terms and abbreviations are recommended. Next, the above content will be introduced separately.<br /> <br /> ===3.1.1 Action verbs===<br /> <br /> A resume shows the author’s education and work experience. There are lots of action verbs used in resume translation. And most of the sentences that describe job duties and self-evaluation begin with action verbs, such as负责、开发、管理、提出.<br /> <br /> Example 1:<br /> 1.提出新的流程，在减少工作压力的同时，提高了员工的生产能力，成功的向潜在的购买者解释并演示了技术产品的相关科技<br /> 2.开发了销售和市场项目，使购物中心的利润提高了33个百分点<br /> 3.负责华东地区的23家商店的销售和损益<br /> 4.为新华出版社管理23家生产厂家的代表公司的国际和国内销售力量<br /> Translation:<br /> 1. Proposed a new process to reduce the work pressure, improved the production capacity of employees, and successfully explained and demonstrated the technology related to technical products to potential buyers.<br /> 2. Developed sales and marketing programs that increased shopping center profit by 33 percent.<br /> 3. Took charge of sales and profit and loss of 23 stores in East China<br /> 4. Managed the international and domestic sales force of representative companies of 23 manufacturers for Xinhua Publishing House<br /> <br /> These examples are selected from job hunters’ resumes. For those who want to apply for a job on sales, it is common to see the action verbs like “propose”, “develop”, “take charge of” and “manage” in their resume. Through those action verbs, it is conspicuous for readers to know the achievement the job seekers have done during their previous job experiences. When translating, in order to make each sentence start with an action verb, the job hunter adjusts the words order. In this way, it not only gives HR a kind of visual beauty, but also shortens the sentence of translated resume. In addition, frequently using action words shows a more effective, organized and positive job hunters. Obviously, Skopos rule works here since the main purpose of the job hunters is that readers can grasp the core information in a few second so as to add the opportunity of getting an interview among thousands of them. <br /> <br /> Recombination and omission are the vital translation skills here. And the above selection parts employed omission translation skill so as to delete a lot of qualifiers which may cause disturbance for reader to get useful information. However, such a kind of English resume is simple and clear which is convenient for readers to grasp the significant parts. In addition, it is in accordance with the conciseness feature of resume as well.<br /> <br /> ===3.1.2 Terminology and Abbreviation===<br /> <br /> Different fields have different terminologies, which is the product of the advancement of science and culture. With the emergence of the concept of the new things, people adopt a variety of approaches to make appropriate words in their language to label them which can be easily understood by employers. Thus it can be seen that terminology has great impact on resume translation.<br /> <br /> Example 2:<br /> 负责宝马5系，5系混动，1系认证：协调试验工程师，环保申报工程师完成工作，确保认证按节点完成②<br /> Translation:<br /> Take lead of BMW 1 series, 5 series and 5 PHEV models homologation process; coordinate the cooperation of test engineer and EPA specialist to achieve the target on time<br /> <br /> From the example above, we can see that abbreviations in some resumes are sometimes frequently employed, such as PHEV(Plug-in Hybrid Electric Vehicle), BMW(Bavarian Motor Works) and EPA(Environmental Protector Agency). Abbreviations will make the translated resumes look more concise and clear and will not hinder employers to understand what job seekers try to convey.<br /> <br /> Under the Skopos theory, the purpose of a resume is to provide HR with key information about whether a candidate is suitable for the target position, so as to get an interview. Therefore, long and complex sentences should be avoided. Terms and abbreviations are necessary. In this way, the author also proves the use of action verbs, which makes the translated resume more attractive because the reader can immediately get the main information.<br /> <br /> ===3.2 Application of Skopos Theory in Syntactical Translation===<br /> <br /> It usually takes about 30 seconds for an HR to read a resume in English, so neither long sentences nor compound sentences are frequently used in a resume, as this may pose a barrier for HR to attain the key information. Similarly, English resumes should be concise. In order to achieve this goal, non-subject sentences and unified sentences are generally used. Through analysis, the author found that declarative sentence is the most commonly used question, negative sentence. In addition, present and past tense are generally used to introduce personal information and work experience.<br /> <br /> ===3.2.1 Non-subjective Sentence===<br /> <br /> Example 3:<br /> 担任加油站项目开发经理，负责加油站项目的实地调研、车辆分析、投资回报分析及项目可行性报告的完成；对外与政府进行沟通协调、各类准建文件和营业证照的申办等；对内督促工程部门推进站体建设、质量、安全管理等工作。<br /> Translation 1:<br /> As the project development manager of the gas station, I was responsible for the field research, vehicle analysis, investment return analysis and the completion of the project feasibility report of the gas station project. Externally, I communicated and coordinated with the government on the application of various kinds of construction documents and business licenses, and internally urged the engineering department to promote the construction, quality and safety management of the station.<br /> Translation 2:<br /> 1. Served as the gas station project development manage<br /> 2. Was responsible for the field research, vehicle analysis, investment return analysis and project feasibility report of the gas station project<br /> 3. Communicated and coordinated with the government to apply for all kinds of construction documents and business licenses<br /> 4. Urged the engineering department to promote the construction, quality and safety management of the station<br /> <br /> In translation 1, since the language of the resume is complimentary, the use of “I” gives people a sense of pride. In addition, it does not conform to western culture, because westerners are used to simple and direct description. By contrast, translation 2 is much simpler and clearer by omitting the subject “I”. Usually, a non-subject sentence is an elliptical sentence that omits the subject, while the omitting subject is usually the applicant himself. <br /> In conclusion, the non-subjective sentences conform to the Skopos theory, and the translated resumes are shorter, which increases the chances of the interviewee getting the interview. Therefore, ellipsis plays an important role in resume translation. By omitting the first person I, the sentence becomes more concise and to the point. Therefore, it doesn’t take much time for the reader to grasp the key information.<br /> <br /> ===3.2.2 Syntactic Unity===<br /> <br /> When translating resumes, we pay attention to the unified sentence structure to reflect the professional qualities of job seekers, and also meet the requirements of reading fluency. In order to achieve this, translation transformation will be used. For example, verbs in the original text can be converted into adjectives or nouns instead of adjectives. By complementing this sentence structure, the translated resume looks more standardized and attractive because it stimulates HR’s desire to read.<br /> <br /> Example 4:<br /> 1.能熟练操作财务软件，能很好的与人交往，同时学校的生活使我锻炼了团队合作精神<br /> 2.责任心强，工作效率高，认真仔细，具有创新意识，善于分析和解决问题<br /> 3.熟练掌握MATLAB， MS office software。 计算机二级VB，三级数据库。<br /> Translation:<br /> 1. Proficient in operating financial software, good at communicating with others, stronger in teamwork spirit in school life<br /> 2. Strong sense of responsibility, high efficiency, careful, innovative and good at analyzing and solving problems<br /> 3. Skilled at MS office software and MATLAB. Passed National Computer Rank Examination Grade 3(database) and Grade 2(VB)<br /> <br /> Through the translation of examples selected above, each sentence is begun with a phrase led by an adjective or the past participle of a verb which is consistent with the principle of syntactic unity. Considering the background of western culture, as well as the convenience for readers, such an approach seems practical in resume translation. Syntactic unity not only makes the translated resume more attractive, but will also let our resumes stand out among thousands of competitors. Because for one thing, it provides readers with a sense of visual beauty, and for another, more information will be attained.<br /> Under Skopos theory, the unification of non-subjective sentences and syntax is an effective means of Chinese-English translation. Moreover, the author also found that English resumes use declarative sentences because of their narrative usage. Sentences such as questions and negatives are rarely used. In addition, the present and past tenses in English resumes are widely used for their objectivity. Generally, a job seeker will present his or her personal information and experience objectively, which is why the above tense is used.<br /> <br /> ===3.3 Application of Skopos Theory in Textual Translation===<br /> <br /> In previous parts, the author of the essay has studied application of Skopos theory in lexical translation and syntactical translation. And in the following part, application of Skopos theory in textual translation will be further analyzed, which includes translation of personal information and concise style.<br /> <br /> ===3.3.1 Translation of Personal Information===<br /> <br /> There is a big difference between the English resume, because the use of the English resume for the international environment, such as multinational companies, so the Chinese resume English translation should follow the principle of alienation, and the English resume should be easy to be accepted by the reader. Here is an example.<br /> <br /> Example 5:<br /> <br /> 姓名：张三<br /> <br /> 性别：男<br /> <br /> 年龄：25<br /> <br /> 身高：185<br /> <br /> 政治面貌：团员<br /> <br /> 婚否：已婚<br /> <br /> 地址：湖南省长沙市岳麓区<br /> <br /> 电话：1337658xxxx<br /> <br /> 电子邮件：Zhangsan2008@163.com<br /> <br /> Translation:<br /> <br /> Zhang San<br /> <br /> Yuelu District, Changsha, Hunan Province<br /> <br /> Tel:1337658xxxx<br /> <br /> Email:Zhangsan2008@163.com<br /> <br /> By comparing the above resumes in both Chinese and English, we can clearly see that English resumes are much simpler than Chinese resumes, and a lot of private information has been deleted, such as date of birth, political status, marital status, height and photos, etc. The purpose is to avoid discrimination. In addition, the writing of addresses in Chinese and English resumes is also very different, so the author adopted a translation method of word order adjustment.<br /> <br /> ===3.3.2 Concise Style===<br /> <br /> As we know, simple and concise are two core principle of resume translation, because it achieves the purpose of high efficiency. Therefore, job seekers do not have to repeatedly emphasize the various scholarships or grades they have achieved between school or work. This not only makes people feel that job seekers have limited work experience, but also seem boring. Next, the author will give an example of the above.<br /> <br /> Example 6:<br /> <br /> 2016.9湖南师范大学2015~2016年度“校三等奖学金”、“校三好学生”及“优秀学生干部”<br /> <br /> 2017.9湖南师范大学2016~2017年度“国家励志奖学金”、“校三好学生”及“优秀共青团员” <br /> <br /> 2018.9湖南师范大学2017~2018年度“校二等奖学金”、“校三好学生”及“优秀学生会干部”<br /> <br /> Translation 1:<br /> <br /> 2016.9 Third-class Scholarship、 Excellent Student and Fine Student Leader in Hunan Normal University<br /> <br /> 2017.9 National Scholarship for Higher Motivation、Excellent Student and Outstanding League Members in Hunan Normal University<br /> <br /> 2018.9 Second-class Scholarship、Excellent Student and Fine Student Union Leader in Hunan Normal University<br /> <br /> Translation 2:<br /> <br /> Third-class and Second-class Scholarship<br /> <br /> National Scholarship for Higher Motivation <br /> <br /> Excellent Student(2 Times)<br /> <br /> Fine Student Leader and Fine Student Union Leader<br /> <br /> Outstanding League Members<br /> <br /> The above example is taken from the resume of an undergraduate student. The first version was translated by the applicant himself, and the second version was modified. By comparing the two versions above, we can know that the second version is more concise and clear compared with the first one. It uses ellipsis and combination of translation skills to describe the academic achievements and honors of the applicants, without repeating the name and time of the school as the first one did. It's easier to stand out.<br /> <br /> ===Conclusion===<br /> <br /> When translating Chinese resumes into English, Chinese people often copy and ignore the habits of English resumes in terms of format, language and cultural traditions. Therefore, in the process of translating Chinese resumes into English, we must pay attention to the format characteristics of English resumes and the key points of language writing, as well as the cultural differences between China and the West, and the awareness of cross-cultural communication.<br /> <br /> A resume is an indispensable application style for job application. It is a written introduction showing the image, expertise and experience of the job seeker. No matter what kind of briefing, the purpose is to seek job interviews for job seekers and get the job opportunities. Therefore, in order to reduce the obstacles encountered in job hunting and achieve a smooth job search, in the process of translating Chinese resumes, it is necessary to use the translation teleology as a guide, and according to the reading habits of English readers, the necessary arrangement and reorganization can be used to maximize the role of resumes.<br /> <br /> Although this paper can provide some inspiration for job seekers, there are still limitations in the paper. The biggest limitation is that there are too few samples of resumes cited in the article, so the cases may be less than typical and comprehensive. Taking into account the limitations of the paper, the author believes that in the future research, the cases should be involved in a wider range and more numbers, so as to make a more comprehensive and convincing analysis.<br /> <br /> ===Notes===<br /> <br /> ① 高琳. 跨文化视角下中英文简历的语类分析[D]. 天津: 天津商业大学, 2015: 10.<br /> <br /> ② 胡婷婷. 目的论指导下的简历的英译[D]. 吉林: 吉林财经大学, 2018: 22.<br />  <br /> <br /> ===Bibliography===<br /> <br /> [1] Baker, Mona. Routledge Encyclopedia of Translation Studies[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2] Bhatia, K. Analysis Genre: Language Use in Professional Settings[M]. London: Longman, 1993.<br /> <br /> [3] Nida, E.A. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [4] Nord, Christiane. Skopos, Loyalty, and Translation Conventions[J]. Amsterdam and Philadelphia: Benjamins, 1991(4).<br /> <br /> [5] Nord, Christiane. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> [6] Peter, Newmark. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Education Press, 2001.<br /> <br /> [7] Reiss, Katharina and Vermeer, Hans J. Groundwork for a General Theory of Translation[M]. Tubingen: Niemeyer, 1984.<br /> <br /> [8] Swales, M. Genre Analysis: English in Academic and Research Settings[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> [9] 楚天舒. 求职简历不容忽视的九大细节[J]. 中国大学生就业, 2008,(8).<br /> <br /> [10] 胡婷婷. 目的论指导下的简历英译[D]. 吉林: 吉林财经大学, 2018.<br /> <br /> [11] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 2010.<br /> <br /> [12] 高琳. 跨文化视角下中英文简历的语类分析[D]. 天津: 天津商业大学, 2015.<br /> <br /> [13] 张培基等. 英汉翻译教程[M]. 上海: 上海外语教育出版社, 1980.<br /> <br /> [14] 朱理萍. 求职简历汉英小译[D]. 上海: 上海外国语大学, 2008.<br /> <br /> [15] 庄绎传. 英汉翻译简明教程[M]. 北京: 外语教学与研究出版社, 2002.<br /> <br /> === The Translation of English Film Title—Under the Perspective of Skopos Theory 杨悦 Yang Yue==<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ==='''Abstract'''===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ==='''key words'''===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ==='''摘要'''===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ==='''关键字'''===<br /> 功能对等，形式对等，翻译<br /> <br /> ==='''Introduction'''===<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> ===Lexical equivalence===<br /> <br /> ===Syntax equivalence===<br /> <br /> ===Texual equivalence===<br /> <br /> ===Stylistic equivalence===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===References===<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==<br /> ==='''Abstract'''===<br /> Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ==='''Key words'''===<br /> Functional Equivalence; Folding Beijing ; meaning; style; culture<br /> <br /> ==='''摘要'''===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ==='''关键词'''===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ==='''Introduction'''===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> '''1.Eugene A. Nida and His Theory of Functional Equivalence'''<br /> <br /> Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> == On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==<br /> <br /> ='''Applicaton of Translation Theories'''=<br /> ==Study of Application of Interpretive Theory in Escort Interpretation 韩宛真 Han Wanzhen==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> 安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》<br /> <br /> <br /> ==='''I.Introduction'''===<br /> <br /> ==='''II.Analysis of ''Translation, History and Culture: A Sourcebook'''''===<br /> <br /> Translation, History and Culture: A Sourcebook, written by a famous American scholar André·Lefevre, is a collection of seminal statements or texts of thinking about translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. A number of texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking of translation. The collected excerpts are arranged in eight themes, including the role of ideology, the power of patronage, poetics, universe of discourse, translation, the development of language and education, the technique of translating, central texts and central cultures, and longer statements. Such an exclusive arrangement is intended to highlight the important thinking of translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. As such, the book is proved to be worth reading for those who study translation. <br /> <br /> <br /> ==='''III. Analysis of ''A Comparative study of Chinese and Western Translation Thoughts'''''===<br /> <br /> ==='''IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts'''''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui==<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==摘要==<br /> <br /> ==关键词==<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui==<br /> <br /> ==Translation, History and Culture and Introducing Interpreting Studies 李璐伊 Li Luyi==<br /> <br /> ==Reflection on the Learning of Translation Studies in China 许晶 Xu Jing==<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan==<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan's works 邹鑫雨 Zou Xinyu==<br /> <br /> ==Yan Fu from descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> <br /> ='''Translation Thoughts'''=<br /> <br /> <br /> ==An Analysis of Translator’s Subjectivity from the Perspective of Cognitive Metaphor李玉 Li Yu==<br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Lexical Gap between English and Chinese and its translation strategies 孟莹 Meng Ying==<br /> <br /> ==On Form and Spirit in Translation 文偲荇 Wen Sixing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> translation methods，form，sprit<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> 翻译方法，翻译的形与神<br /> <br /> ===The form of translation===<br /> <br /> ===The sprit of translation===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Comparison of Nida's and Newmark's Translation Theories——Taking &quot;2017 APEC Speech&quot; as sample 周诗卿 Zhou Shiqing==<br /> <br /> ='''Translation Strategies'''=<br /> <br /> <br /> ==The Study on the Translation Strategies, Translation Methods and Translation Techniques in Seeking Happiness for People: 70 Years 朱素瑶 Zhu Suyao==<br /> <br /> ==Translator's invisibility vs. Translation Studies 胡百辉 Hu Baihui==<br /> <br /> ==Translation of Business Contracts from the Perspective of Functional Equivalence Theory 胡瑾 Hu Jin==<br /> <br /> ==The translator's invisibility 张毓婕 Zhang Yujie==<br /> <br /> ==Study of Domestication and foreignization in Cross-cultural Translation 顾东方 Gu Dongfang==<br /> <br /> ==The Translation Strategies of Chinese Political Terms under the Standard of &quot;Political Equivalence&quot; 高明珠 Gao Mingzhu==<br /> <br /> ===Abstract===<br /> With the development of globalization, the political communication among countries is more and more frequent, and the translation of political terms has gradually become one of the heated topics in the translation field. Political terms translation is challenging, because not only does it concern the relationship between countries, national status, political attitude and other important issues, but also it is developmental. Political neologisms will keep emerging, and some political terms will contain new connotations with the advancement of the times. In addition to the above characteristics, Chinese political vocabulary has many affixes, abbreviations, four-character phrases, metaphors.In 2008, Yang Mingxing and other scholars put forward the &quot;Political Equivalence&quot; based on Eugene Nida's &quot;Functional Equivalence&quot; theory for the translation of Chinese political terms, which pointed out that the translation of political words should follow the three principles of &quot;political&quot;, &quot;dynamic&quot; and &quot;balanced&quot;. On the basis of some related papers, this chapter will sum up the specific strategies such as supplement, omission, keeping or converting analogical body, adding explanation and narration for translating Chinese political terms with characteristics of having lots of affixes, abbreviations, four-character phrases and metaphors following the guidance of &quot;Political Equivalence&quot;.<br /> <br /> ===Key words===<br /> political equivalence Chinese political terms translation strategies<br /> <br /> ===摘要===<br /> 随着全球化的发展，各国间的政治交流愈加频繁，政治词汇的翻译也逐渐成为翻译界讨论热点之一。政治词汇的翻译是具有挑战性的，不仅是因为它关系到国与国之间的关系、国家地位、政治态度等重要问题，而且因为政治词汇是发展性的，政治词汇中会不断有新的词汇涌进，且某些政治词汇会随着时代的发展而增加新的内涵。而中国政治词汇除了具有以上特点，它还有多词缀、缩写、四字短语[1]，多用隐喻等修辞手法的特点。2008年，杨明星等学者针对中国政治词汇的翻译，基于尤金·奈达的“功能对等”理论提出了“政治等效”翻译标准，该标准指出政治词汇的翻译要遵循“政治性”、“动态性”、“平衡性”三大原则。本文基于相关文献，总结出在该标准下，对中国政治词汇在具有多词缀、缩写、四字短语及多采用隐喻这几个特点下的翻译可采用的具体的翻译策略，如增补法、省略法[1]、喻体保留法（完全保留、部分保留）、喻体转换法、喻底补充法、喻义直叙法[2]等。<br /> <br /> ===关键词===<br /> 政治等效 中国政治词汇 翻译策略<br /> <br /> ===1. The Significance of Translating Political Terms===<br /> ===2. The Difficulties in Translating Political Terms===<br /> ===3. The Proposal and Connotations of Political Equivalence===<br /> ===4. The Three Principles of Political Equivalence ===<br /> ===5. Translation Straties under The Standard of Political Equivalence===<br /> ===(1)The Characteristics of Chinese Political Terms=== <br /> ===(2)Translation Strategy---Supplement===<br /> ===(3)Translation Strategy---Omission===<br /> ===(4)Translation Strategy---Keeping or Converting Analogical Body===<br /> ===(5)Translation Strategy---Adding Explanation and Narration===<br /> ===6. Conclusion===<br /> ===7. References===<br /> <br /> ='''Translation Appreciation'''=<br /> <br /> <br /> ==Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 袁诗琦 Yuan Shiqi==<br /> <br /> ===27.1.1 Abstract===<br /> ===27.1.2 Key words===<br /> ===27.1.3 摘要===<br /> ===27.1.4 关键词===<br /> ===27.1.5 Introduction===<br /> ===27.1.5.1 Introduction to ''Walden''===<br /> ===27.1.5.2 Introduction to Xu Chi's translation of ''Walden''===<br /> ===27.1.6 Stylistic Features of ''Walden''===<br /> ===27.1.6.1 Lexical Features of ''Walden''===<br /> ===27.1.6.2 Syntactic Features of ''Walden''===<br /> ===27.1.6.3 Rhetorical Features of ''Walden''===<br /> ===27.1.7 Conclusion===<br /> ===27.1.8 References===<br /> <br /> ==A Comparison Beteewn the Translation Systems Proposed by Tan Zai and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation. 王美玲 Wang Meiling==<br /> <br /> &lt;center&gt;王美玲 Wang Meiling&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> The Renaissance is the fourth peak in the history of Western translation and a great development in the history of Western literature. During the 16th century and the period following the Renaissance in Europe, translation reached an unprecedented climax in the fields of thought, politics, philosophy, literature and religion. At that time, the German translation of the Bible by the Martin Luther is the most well-known one in the whole translation circle, and its influence is unique and long-standing in Germany as well as in the whole Europe continent. Since the Reform and Opening-up, China has gradually stepped into the center of the world arena, and its literary works bearing the quintessence of Chinese culture has become a crucial bridge connecting the rest of the world with China. Despite the rise of machine translation, it can never replace the overwhelming role of human translation in the literary translation. Luther’s translation thoughts have exerted an important influence on the development of Western translation theories, so what sparks can be drawn between his translation principles and Chinese modern culture and literary works? This paper makes a brief comment on the main translation activities of renaissance, then compares the translation thoughts of Luther and Lu Xun, and applies Luther’s detailed translation rules to the actual translation practice,finally analyzes the influence of Luther’s translation thoughts and principles on modern translation practice and their significance for reference.<br /> <br /> ==='''Key words'''===<br /> <br /> Renaissance; Luther; literary works; translation principles; influence;<br /> <br /> ==='''摘要'''===<br /> <br /> 文艺复兴运动是西方翻译史的第四次高潮，也是西方文学史上的一次大发展。文艺复兴在欧洲普遍开展的16世纪以及随后一个时期，翻译活动达到了前所未有的高峰，深入思想、政治、哲学、文学宗教等各个领域。在整个翻译界，德国马丁·路德的《圣经》德译本是该时期最负盛名的译本，其影响不论是在德国乃至整个欧洲都是独一无二且源远流长的。改革开放以来，中国日益走进世界舞台中央，承载着中华文化精髓的文学作品成为了重要桥梁。纵然机器翻译兴起，但绝不能替代人工翻译在文学翻译领域的绝对性地位。路德的翻译思想对西方翻译理论的发展产生了重要影响，那么其翻译思想和理论原则与中国当代文化及文学作品又能擦出什么样的火花呢？本文将通过对文艺复兴时期的主要翻译活动进行简评，再对比路德与鲁迅的翻译思想，接着将路德的翻译细则运用到实际的翻译实践中，分析路德的翻译思想及理论原则对于当代翻译实践的影响以及借鉴意义。<br /> <br /> ==='''关键词'''===<br /> <br /> 文艺复兴；路德；文学作品；翻译原则；影响；<br /> <br /> ==='''Introduction'''===<br /> <br /> The Protestant Reformation Movement in Germany in the 16th century ushered in a new era of translation and dissemination of Bible.Under the protection of Protestantism, Martin Luther devoted himself to the German translation of the Bible. By the time of 1544 Luther’s death, 430 versions of his Bible translation had been published. In order to make common people more directly understand the meaning of the Bible, Martin Luther translated it in national language. He insisted on his translation thought and fought against the church power and his opponents. He made unremitting efforts in the great project of the Bible translation, which promoted the unification of German language and created a graceful literary language.His translation thoughts are still of great significance to the current translation theory and practice.&quot;First of all, from a historical point of view, translation has two main functions in promoting the birth and development of national culture and the transformation of national culture into world culture: one is to promote cultural exchange; the other is to disseminate ideas.&quot;<br /> <br /> Since the beginning of reform and opening-up, China has gradually stepped onto the world arena. China persists in its cultural development geared to the needs of the world and actively promotes cultural development to the world. Literary works bear the essence of Chinese culture, whose export is an crucial way to spread Chinese culture to the world. Over the years, despite the rise of machine translation, which has a certain practical role, it can not replace the overwhelming role of manual translation in literary translation. So what significance does Luther’s translation thought and theory born in the reform era have in guiding modern translation theory and practice, especially in the field of literary translation?<br /> <br /> ===Chapter 1 Brief comments on translation thoughts in the period of Renaissance===<br /> <br /> '''1.1 '''<br /> <br /> '''1.2 '''<br /> <br /> '''1.3 '''<br /> <br /> '''1.4 '''<br /> <br /> ===Chapter 2 Comparison of translation thoughts between Luther and Lu Xun===<br /> <br /> ===Chapter 3 ===<br /> <br /> ===Chapter 4 ===<br /> <br /> ==Study on Interpreter's Memory and Translation Memory in Interpreting 康浩宇 Kang Haoyu==<br /> <br /> ===Abstract===<br /> <br /> ===摘要===<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> '''1.1 Background'''<br /> <br /> Memory plays an important role in interpreting and it is a kind of interpreting competence. The information processing in interpreting is complicated. When the information is input, interpreter first recognize and keep the information, which will then be analyzed, encoded, stored and retrieved. And the interpreter finally decode the information into target language(Wang Jianhua, 2019).Because of the fast input of information and limited time for pausing, great memory is required for interpreters. Whether a good or poor memory has a direct effect on the quality of interpreting. <br /> With the development of science and technology, machine translation and computer aided translation, which is also called CAT, was invented as two effective and efficient ways for translation. In CAT, there is a concept called translation memory. Different from human beings’ memory, translation memory is more likely a database. Nowadays, translation memory of CAT has been put into wide use in translation. And in recent years, translation memory has also been applied as a tool in interpreting. As the technology is not yet mature, there are still some limitation and weakness.<br /> <br /> '''1.2 Significance of the Study'''<br /> <br /> There are some studies on the memory of interpreters. But most of them focus on its practical aspects such as how to improve interpreters’ memory or how to make the best of memory in interpreting, instead of substantial facts. The nature of memory and mechanism of memory is also worthy to be studied, so readers can have better understanding and cognition of what is memory and how it works. Therefore, readers can better address our problems in memory of interpreting. The study will fully analyze memory from the aspect of psychology and science. And then it will study on memory of interpreting in details including systems, mechanism, coding and theories. <br /> Translation memory is quite a novel topic as it belongs to a sort of science and technology. As the world stepped into information era, digital era and even Artificial Intelligence era, translation memory has been used more widely than ever before. It really facilitates the translators as it both saves a lot of time and greatly improved the translation efficiency. However, there are few studies on the translation memory application in interpreting field. Actually, in many situations, interpreters also uses this kind of technology to help their interpreting. They study will research on the fact of translation memory in interpreting.<br /> <br /> '''1.3 Structure of the Study'''<br /> <br /> This thesis will be developed in five chapters. <br /> Chapter 1, the introduction part, is initiated by introducing the background, research problems, and significance of the study.<br /> Chapter 2 is functioned to define and categorize the memory.<br /> Chapter 3 will present the memory mechanism and related theories in interpreting.<br /> Chapter 4 will mainly focus on the translation memory technology at present and its application in interpreting.<br /> The concluding chapter generalizes the content of the study and put forward the limitations.<br /> <br /> ===Chapter 2 Study on Memory===<br /> <br /> '''2.1 The definition of the Memory'''<br /> <br /> Memory has different definitions in different fields. Generally speaking, human memory is a reflection of what the brain has experienced. From the perspective of psychology, memory is the recognition, maintenance, reappearance of experienced things by the human brain, and it is the basis of advanced psychological activities such as thinking and imagination. It is the retention and extraction of past experience by human brain. It is a psychological process in which individual experience is accumulated and preserved in the mind. All things that have been perceived can be kept in people's minds, and can be reproduced when necessary. This refers to the process in which the human brain encodes, stores and extracts meaningful information input from the outside world(Peng Danlin，1991). From the perspective of neurology, human memory is closely related to the changes of chemical composition in hippocampus and brain. All memory that exists in the brain depends on various nerve cells of the brain, which are called neurons. According to information processing theory, memory process is the process of encoding, storing and extracting input information. Only coded information can be remembered. Coding is the process of processing and transforming the input information, and coding is the key stage of the whole memory process.<br /> <br /> '''2.2. Memory Systems'''<br /> <br /> Based on the structure, memory can be categorized into three systems. There are sensory memory, short term memory and long term memory. The later two systems are also often referred as STM and LTM. The three memory systems are different from each other but closely related.<br /> <br /> '''2.2.1 Sensory Memory'''<br /> <br /> As the shortest memory system, sensory memory is the first channel for human brain to get the information. It has some capacity. According the research in Cognitive Psychology(Wang Su, Wang Ansheng, 1992), People’s visual sensory capacity is more than 9 chunk while their auditory sensory memory capacity has less capacity, which is about chunk. chunk here are memory units, and the size of chunk varies with people's knowledge and experience. A chunk can be a word, a number, a phrase, a sentence, a word list, etc. Sensory memory works as temporary storage for sensory information. It depends on the physical nature of external stimulus to code the information and it is the real copy and transcription of the external stimulus. Most sensory memory can stay for one to two seconds and then disappear. Only with more attention and focus can the sensory memory be processed and then become short term memory(Bao Gang, 2005). People’s visual sensory memory can just keep for less than one second while their auditory sensory memory can keep for 4 seconds. It is inevitable that information will lose with the disappearance of sensory memory. <br /> <br /> '''2.2.2 Short Term Memory'''<br /> <br /> Short term memory is the second memory system. Short term memory is based on the neuron network in hippocampus. It keeps the information that has been selected in the hippocampus of human brain. In some cases, part of information will move from the short memory in hippocampus to long term memory in cerebral cortex. In psychology, short term memory can keep for about one minute with the capacity of about 7 chunks. That means that people can memorize seven unrelated numbers or phonemes for about one minute with their short term memory. However, the capacity of short term memory is not decided by the amount of stimulus but by the modes of chunk and coding. Chunks can effectively expand the capacity of short-term memory. When processing information, people can use the knowledge and experience stored in long-term memory to combine several single stimuli into larger information units, which can effectively expand and increase short-term memory span and improve memory efficiency. Moreover, the coding of short-term memory is mainly auditory coding, and there are also visual coding and semantic coding. Instead of chunk and information unit, people can also use retelling to transfer short term memory to long term memory. Retelling refers to the psychological operation process of repeating the materials just memorized by language to consolidate memory. In the case of retelling, the learning materials kept in short-term memory will transfer to long-term memory. The content of short-term memory can be transformed into long-term memory by retelling. <br /> <br /> There is a special type of short term memory, working memory. The concept working memory was first proposed by Baddeley and Hitch. It is used to describe the process of a person temporarily memorizing the fact and thoughts when addressing problems or working(Baddeley, 2006). In spite of limited resources and storage time, working memory is still different from short term memory in temporary storage of information(Hitch, 2012). Compared with short term memory which store information passively, the working memory process is more dynamic. Generally speaking, there are three differences. First, working memory emphasizes storing and processing information at the same time, while short-term memory only focuses on information storage. Secondly, working memory is a multi-factor system, while short-term memory is a single system. Third, working memory is more important than short-term memory for many advanced brain functions and even almost all human cognitive work(Wang Jianhua, 2019). The disappear of short term memory is often due to the interruption.<br /> <br /> '''2.2.3 Long Term Memory'''<br /> <br /> Different from short term memory, long term memory is stored in human’s cerebral cortex where there is more room for storage. Long term memory is very important in keeping information for long time. It can keep information for more than one minute and even for a whole life. Its capacity is unlimited. All the information kept by long term memory has been selected and filtered.According to Tulving, long term memory is stored mainly as two types(Tulving, 1974). They are episodic memory and semantic memory. Episodic memory is about one’s experience of some specific situations. Semantic memory refers to knowledge such as words, concepts, rules and other abstract things.<br /> <br /> == Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 王轩 Wang Xuan==<br /> <br /> ='''Machine Translation'''=<br /> ==On the C-E Translation of Traditional Chinese Medicine Instructions from the Perspective of Adaptation Theory - A Case Study of Yulin Pharmaceutical Company==<br /> <br /> &lt;center&gt;陈永相 Chen Yongxiang&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> Traditional Chinese Medicine (hereinafter referred to as TCM), the precious property of Chinese medicine culture, boasts the favorable curative effect and a good reputation across the world. With the smooth development of “The Belt and Road Initiative” and national economy, TCM has been playing an increasingly significant role in international trade, attracting more attention of foreign medical experts and consumers. As the essential attachment of a medicine, medicine instructions belong to the genre of practical writing, characterized by the unique language structure and stylistic features, guiding doctors and patients to learn and understand the medicines, such as usage and dosage, actions and indications, contraindication, etc. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in international trade. Due to the inevitable differences in language and culture between English and Chinese, however, plenty of problems appear on the C-E translation of TCM instructions. <br /> <br /> According to Adaptation Theory proposed by the Belgian pragmatist Jef Verschueren, language use is a dynamic process of continuous choice-making and adaptation. Translation is a cross-cultural communication activity, which involves language usage and requires translators to make choices of words, translation strategies and so on between source language and target language, and to adapt with different contexts, mentalities, cultures, etc. so as to achieve the ideal goal, from which the Adaptation Theory can be applied exactly into the study of translation. This paper will apply Adaptation Theory, therefore, as the theoretical framework, to study the C-E translation of TCM instructions of Yulin Pharmaceutical Company. Employing the core concepts and investigating aspects of Adaptation Theory, the author tries to further discuss how to better translate TCM instructions. <br /> <br /> ==='''Key words'''===<br /> <br /> Traditional Chinese Medicine instruction translation, Adaptation Theory, Yulin Pharmaceutical Company <br /> <br /> ==='''摘要'''===<br /> <br /> 中药是我国医药文化的瑰宝，有着良好的疗效和口碑。随着“一带一路倡议”的稳步推进和中国经济的平稳发展，中药药品在国际贸易中所占比重日益增加，得到了国外许多医疗专家和消费者的关注。药品说明书作为药品的重要附件，是一种实用文体，有其自身的语言结构和文体特点，能够指导医生与患者了解和熟悉药品作用、用法用量、适应症和禁忌等。而中医药品说明书英译作为中医英译的一个重要组成部分，其英译质量决定了药品能否被医生和患者正确理解和使用，以及中医药产品的国际贸易繁荣。然而，由于英语和汉语之间存在着不可避免的语言和文化差异，中医药品说明书英译依然存在着较大问题。<br /> <br /> 比利时语用学家维索尔伦提出的语言顺应论认为，语言的使用是一个不断作出选择和顺应的动态过程。翻译作为一项跨文化交际活动，需要在源语与目的语之间，就用词、翻译策略等方面进行选择，对不同语境、心理、文化等层面作出顺应。可见顺应论适用于翻译研究。因此本文以顺应论作为理论依据，通过对广西玉林制药公司中医药品说明书英译进行分析研究，运用顺应论的核心概念和研究视角，进一步探讨如何更好地翻译中医药品说明书。<br /> <br /> ==='''关键词'''===<br /> <br /> 中医药品说明书翻译，顺应论，玉林制药公司<br /> <br /> <br /> ==='''1.Introduction'''===<br /> <br /> ===='''1.1 Research Background of the Study'''====<br /> <br /> As the precious property of Chinese medicine culture, TCM has been through a profound history in China. Since “The Belt and Road Initiative” proposed for the first time, as an indispensable part in medical industry, TCM has tapped the potential of development opportunity to boost its reform so as to better make inroads into the international market. Guangxi Yulin Pharmaceutical Company is a renowned TCM pharmacy enterprise mainly engaged in R&amp;D, production and sales of Chinese medicines, one of the China Top 50 TCM pharmacy enterprises, boasting 12 national protected TCM varieties. In 2015, Consun Pharmaceutical Group Lt. has successfully brought partial share of Yulin Pharmaceutical Company, which, in return, brought opportunities for the IPO and industrialization of the company. As the essential attachment of TCM medicine, the instructions guide doctors and patients to learn and understand the medicine correctly, which closely relates to consumer safety and are of great significance. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in international trade. The high quality translation versions of TCM instructions will accelerate TCM to enter into the international market, to occupy more competitive market share, and to better popularize the excellent TCM culture. <br /> <br /> ===='''1.2 Significance and Purpose of the Study'''==== <br /> <br /> It is noticed that studies and researches on TCM at home and abroad have boomed since the ancient Silk Road period. Regarding the translation of TCM instructions, however, little attention has been drawn from experts. Because of the inevitable differences in language and culture between English and Chinese, a lot of problems appear on the translation of TCM instructions. And against such a backdrop, there are still no settled rules or translation standards to be applied and favored in the translation of TCM instructions, hence it’s quite essential to touch upon the area of C-E translation of TCM instructions in a more comprehensive and systematic way so as to find out more effective methods and strategies for the instruction translation. Adaptation Theory is proposed by Jef Verschueren, he thinks that language use is a dynamic process of continuous choice-making and adaptation. As a cross-cultural communication activity, translation is a type of language use and requires translators to make choices of words, translation strategies and so forth between source language and target language. A good translation version of TCM instructions can appropriately guide both doctors and patients to understand the pharmacological functions, usage and dosage, actions and indications and contraindications of medicines. Therefore, the quality of instruction translation has a direct impact on whether TCM can be favored and obtained a good reputation among overseas medical industry and consumers. This paper studies the C-E translation of TCM instructions of Yulin Pharmaceutical Company under the guidance of Adaptation Theory, trying to take the Company as a case study to further discuss how to translate TCM instructions in a better way. <br /> <br /> ==='''2.Literature Review'''===<br /> <br /> ===='''2.1 Features of TCM Instructions'''====<br /> <br /> Being the essential attachment of a medicine, the instruction contains important information that explains what the medicine is, how to take it and the effects after taking it, guiding doctors and patients to understand and use medicines properly. It closely relates to consumers’ safety. Thus, TCM instructions must be objective, accurate and concise. However, the information covered in most TCM instructions is drug name, ingredients, actions and indications, usage and dosage, while adverse effects, precautions, pharmacological effects, drug interaction, contraindications etc. are quite simple, even without any description of these items, failing to meet the requirement of international standards. <br /> <br /> Besides, due to the profound history of TCM developed in China, most of the unique TCM languages derived from the abstract philosophical concepts of ancient times remain being used until now, say, classical style and semi-classical style, which are accepted and favored by the TCM community, causing difficulties in translating them into English. And hence four-character structure, vagueness and ambiguity of the language, and no equivalence between Chinese and English are the main features of TCM instructions. <br /> <br /> The four-character structure is concise but comprehensive in meaning, implying the extensive and abstract medical concepts of TCM. The tradition of using it to describe the symptoms and ways of treatment in TCM hasn’t been changed over time but continued to be applied and advocated in modern society. The TCM instructions are difficult to understand and translate, for the peculiar traits of TCM language, as well as the technical terms coming, directly or indirectly, from the abstract medical concepts of TCM, characterized by the unique treatment method as a whole in human body, and seeking to find answers and balance principles in nature to explain the causes and treatments of diseases, which is usually not the literal one but beyond cognition. In addition, there are gaps and non-equivalence between TCM and Western Medicine. Most TCM instruction translations apply technical terms from Latin in terms of ingredients, but adopt simple words and phrases for describing actions and indications, since the TCM language with Chinese characteristics finds no match in English. Ordinary people, as well as translators, who do not have the professional knowledge may have great difficulty in understanding and translating them. <br /> <br /> ===='''2.2 Studies of TCM Instruction Translation'''====<br /> <br /> Traditional Chinese Medicine wasn’t legal once in the United States until 1975, as many scholars and experts were skeptical about its medical theory and way of treatment. Since the establishment of China, the government has been devoting great efforts to the recognition and popularization of TCM across the world. And from then on, a lot of studies and researches based on the translation of TCM have been published at home and abroad. Regarding the translation of TCM instructions, however, little attention has been drawn from the experts. In view of the special wording and the abstract theory of TCM, the translation of TCM instructions is of great difficulty and complexity. <br /> <br /> Currently, the translation of TCM instructions on the market, to a large extent, lacks readability and translation standards. Against such a backdrop, some scholars have striven to make some breakthroughs yet. Nigel Wiseman (2000) systematically elaborates the concept of “oriented by the source” in his dissertation, Translation of Chinese Medicine Terms: A Source Oriented Approach, in terms of the translation of TCM language, believing that the translation of TCM, as well as the instructions, should respect the original style and keep it in the target text as much as possible. In 2002, Translation of TCM Directions (《中医药说明书的英译》) written by Ouyang Lifeng (2002) put forward some practical methods for the translation of TCM instructions. He advocates “naturalization” and “readjustment”, namely, adaptation strategy, should be applied in translation, and if necessary, some additions and deletions are acceptable on the basis of faithfulness to the original text. Guided by Professor Ouyang, his student, Xiaoqiong, applies Peter Newmark’s Communicative Approach in her master’s thesis, On the Translation of TCM Booklets of Direction-The Communicative Approach (2008) to study the features of TCM instructions, suggesting that different approaches should be adopted regarding to different parts of the instructions. On translation Strategies of Chinese Medicine Instruction from the Perspective of Functionalist Approaches written by Luo Haiyan (2009) conducts a relatively profound research under the guidance of Functionalist Approach in terms of each part of TCM instructions. She finds out the translation of TCM instructions is not very identical and comprehensible. Cao Qing’s thesis, A Study on Translation of Chinese Pharmaceutical Instruction (2011) states the common problems of translation instructions and advises three translation methods, namely literal translation, conversion and free translation under the Skopos Theory. There are still other scholars aiming at one aspect or another to further study the translation of TCM instructions, all of which exert a significant impact for references in translating TCM instructions. From the perspectives of Zhang Mengjing (1995), Ning Zhishou and Liu Cuiwei (1997), and Fu Wei (2006), the current TCM instruction translation lacks faithfulness, readability and incompatibility with conventional norms, suggesting that more attention should be paid in this field. <br /> <br /> Conclusion can be drawn from the above literature that studies on TCM instruction translation can be conducted from a wide scope. For the great distinction between western and Chinese culture, and the abstract medical principles of TCM, much has to be done to make the translation of TCM instructions more comprehensible and compatible with target cultures and consumers. <br /> <br /> ==='''3.Adaptation Theory Applied in Traditional Chinese Medicine Instruction Translation of Yulin Pharmaceutical Company'''===<br /> <br /> From what has been mentioned above, as the important attachment of TCM, the instructions provide the correct and detailed medical information to doctors and consumers, guiding them to take medicine scientifically and properly, and hence the medicine instructions must be objective, accurate and concise. As one of the China Top 50 TCM pharmacy enterprises, Guangxi Yulin Pharmaceutical Company is a famous brand in the whole country, boasting 12 national protected TCM varieties, and the buyout also boosts the process of IPO and reform. Through observation of the C-E translation instructions of TCM for foreigners and export, hence there are some certain instructive significance for the translation of TCM instructions. Because of the special characteristics of TCM instructions and the limited information included in the instructions of the company, this part tries to analyze the C-E translation instructions from the perspective of Adaptation Theory, mainly employing the contextual correlates of adaptability, structural objects of adaptability and dynamics of adaptability, to further discuss how to better translate TCM instructions. <br /> <br /> ===='''3.1 Contextual Correlates of Adaptability in TCM Instruction Translation'''====<br /> <br /> As introduced earlier, according to Verschueren, the ingredients of contextual correlates of adaptability largely include the physical world, social world, and mental world. However, the author will mainly concentrates on the adaptation to the mental world and social world due to the limited materials collected. <br /> <br /> ====='''3.1.1 Adaptation to the Mental World'''=====<br /> <br /> Regarding the mental world, it involves the personality, emotions, beliefs, cognitive levels, motivations, intentions and so on of both sides of language users. In the translation process, translators should take target readers’ mind into account, not just concentrating on personal mental world or literally translating the original text from one language to another language without any adaptation. <br /> <br /> Basically, consumers of drugs tend to rely on more renowned brands when facing a bunch of medicines displayed on the shelves. The key to attract their attention not only counts on the high quality of TCM, but also on the instructions with rigorous standards, concise specification and overall comprehensibility, delivering a sense of authority and credibility. <br /> <br /> To begin with, the name of drugs is the most direct information delivered to the consumers. Thus, a good name of the TCM can catch the eyes of buyers in the very beginning. “正骨水” is the most famous and important product of Yulin Pharmaceutical Company, however, the translation of its name in the instruction simply applies transliteration and Chinese Pinyin, namely, “Zheng Gu Shui” , which fails to adapt with the mental world of target readers. Apparently, Pinyin isn’t the way of expression that they are familiar with. Translators should consider their mental expectation and make adaptation with their familiar ways of expression. In that point, “Bone-setting Liquor” would be a better name for the medicine. “Bone-setting” means the medicine is effective for the symptoms of bone problems, and “liquor” implies the ingredients involved alcohol and other irritating ingredients so that consumers can be aware of the precautions and avoid using it on fragile mucous membranes and anabrotic wounds. Also, the same type of medicine can apply the same way of translation, such as, “金装正骨水” can be translated to “Golden Bone-setting Liquor”, and “极品正骨水” is rendered as “Superb Bone-setting Liquor”. Such a name conveys the correct medical information to consumers and better adapt to their thinking patterns. <br /> <br /> Another example is “睡安胶囊”, the translation version is “Shui’an Jiaonang” . Obviously, it will confuse foreigners since they don’t recognize Chinese Pinyin in their cognitive levels. Translators should at least use “capsule” to indicate the medicine is some type of capsules effective for the sleeping problems. A well-recognized name will arouse attention and interest among consumers, attracting them to purchase the medicine. In order to adapt with their mental expectation and intention, as Ouyang (2002) advocates, naturalization or domesticating translation can be applied in translation. “Sleep Mate” or “Insomnia Killer” can better attract their attention and adapt with their beliefs and cognitive levels. In English, “mate” is a common word, which will be more acceptable and natural in such combination, and “killer” combined with “insomnia” implies the meaning of solving the insomnia problems, which is also more suitable and adaptable with their emotions and motivations. <br /> <br /> A good name of the medicine can not only imply the function of the medicine, conveying the essential information to customers, but also can draw their attention and arouse their desires to purchase the medicine. Meeting the demand and preference with the mental world of target people is also one of the requirements of medicine instructions. Under the guidance of Adaptation Theory, if transliteration or simply adopting Chinese Pinyin to translate the names of medicines will confuse customers and cause misunderstanding, adaptation is required, and not just words, but also translation strategies should be taken consideration when making adaptation. <br /> <br /> ====='''3.1.2 Adaptation to the Social World'''=====<br /> <br /> Verschueren (2000:91) states that there is no principled limit to the range of social factors that linguistic choices are inter-adaptable with. Basically, social settings and culture play a significant role in the process of translation. What distinguishes TCM from Western Medicine mainly lies on the cultural differences. Language is the carrier of culture, and the cultural differences can be embodied in different languages, and then shown and reflected in society. Instruction translation, as the cross-cultural communication activity, is influenced largely by cultural differences in different social worlds. Followings are the very typical translation examples to illustrate the point:<br /> <br /> Example 1(感冒止咳露)<br /> <br /> Source Text (ST): 用于感冒或流感发热，头痛鼻塞, 伤风咳嗽，咽痛，肢痛<br /> <br /> Target Text (TT): Used for the treatment of cold, flu and fever, headache and nasal congestion, wind damage cough, angina and melalgia<br /> <br /> Revised Text (RT): Used for cold, flu, fever, headache, snuffle, cough, sore throat and pain in muscles<br /> <br /> Traditionally, “伤风” in Chinese means getting cold because of the invasion of “风” into the human body. “风” is actually one of the six exogenous pathogenic factors according to the medical theory of TCM, which cannot be explained from the perspective of Western Medicine. In western society, people have no concept that the natural phenomenon, say, “风” or “火”, will cause diseases in the human body. So the revised text deletes this term with TCM characteristics to avoid ambiguity and makes it more natural and understandable in English. In addition, most common patients who seek to buy medicines in pharmacies might not have the specific knowledge of medical field due to different social settings and backgrounds, thus, “angina” and “melalgia” might be beyond recognition and acceptance. Western world highlights the importance of brevity and conciseness in their society, and they place emphasis on simplification and efficiency, seldom using the very technical terms in their lives. Such social settings and cultural differences must be considered so as to make adaptation when translating. Besides, “nasal congestion” is the word-for-word translation and may cause misunderstanding among foreigners. So the revised text adopts “snuffle” and “sore throat” to indicate the meaning of “鼻塞” and “咽痛”, applying these simple words to make adaptation with cultural differences in different social worlds, and renders “melalgia” into “pain in muscles” to better deliver the meaning of “肢痛”. <br /> <br /> Example 2 (治咳枇杷露)<br /> <br /> ST: 治疗儿童伤风呃逆，咳嗽痰盛<br /> <br /> TT: Used for children’s wind-damage hiccup, cough and exuberant phlegm<br /> <br /> RT: Used for cold, hiccup, cough and sputum in children<br /> <br /> Similarly, example 2 also translates “ 伤风” into “ wind damage”, which is not appropriate in such description. As mentioned above, additions and deletions, if necessary, can be applied to make adaptation in translation. So the revised text deletes “wind damage” and “exuberant phlegm”, adopting noun coordination and making it more readable and adaptable to the social world of target readers. <br /> <br /> Literal translation of instructions is not always the first option in the C-E translation of instructions. For translators, the first thing they should consider is to be faithful to the original meaning of the text, not the text itself. They need to make adaptation to the target readers’ social world, for instance, social status, social settings, social background, cultural differences, etc., striving to make the translation concise and easy to understand in their society. Amid such different social worlds, translators must bear in mind to render localization of different cultures to make adaptation without causing ambiguity and misunderstanding while successfully keeping and delivering the implied meanings as much as possible.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 30 November 2020 (UTC)<br /> <br /> ===='''3.2 Structural Objects of Adaptability in TCM Instruction Translationn'''====<br /> ====='''3.2.1 Adaptation to the Lexical Level'''=====<br /> ====='''3.2.2 Summary'''=====<br /> ===='''3.3 Dynamics of Adaptability in TCM Instruction Translation'''====<br /> ==='''4.Conclusion'''===<br /> <br /> <br /> ==='''References'''===<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:41, 31 October 2020 (UTC)<br /> <br /> ==Will Machine Translation Replace Human Translation or not? 莫玲 Mo Ling==<br /> <br /> '''Abstract'''<br /> <br /> Science and technology constitute a primary productive force. In the contemporary era, with the continuous development of science and technology, artificial intelligence has shown more and more mighty strength, and machine translation has also been derived in the field of translation. In this regard, many people are beginning to worry that machine translation will one day replace human translation. When it comes to me, science and technology is people-oriented, and the continuous development of it aims at servimg mankind in a better standard. Therefore, it is not realistic to separate science and technology from humanities. The appropriate way to solve this dilemma is to integrate the two to achieve the perfectly qualitative change of &quot;1 + 1 &gt; 2&quot;. This paper will first analyze the cons and pros of human translation and machine translation, and then explore the development of computer-aided translation based on the combination of the two types above.<br /> <br /> '''Key Words'''<br /> <br /> Human Translation, Machine Translation, CAT, Compatibility<br /> <br /> '''摘要''' <br /> <br /> 科技是第一生产力。在当代，随着科学技术的不断发展，人工智能展现出越来越强大的实力，在翻译领域也相应地衍生出了机器翻译。对此许多人都开始担心机器翻译终有一天会取代人工翻译。在笔者看来，科技以人为本，科学技术的不断发展是为了更好的为人类服务。因而将科技与人文割裂开来的观点是并不现实的，最好的解决办法应是将二者结合起来，实现1+1大于2的完美质变。本文将分析人工翻译与机器翻译各自的优势和劣势，进而探讨二者相结合的后的计算机辅助翻译的发展。<br /> <br /> '''关键词'''<br /> <br /> 人工翻译，机器翻译，计算机辅助翻译，融合<br /> <br /> '''Introduction'''<br /> <br /> ==A Brief Analysis of the Chinese-English Public Sign Translation 袁天翼 Yuan Tianyi==<br /> <br /> 浅析汉语公示语的英译<br /> <br /> 英语笔译 袁天翼<br /> <br /> 摘 要：在这个经济全球化、政治多极化、文化全球化、科技现代化、信息共享化的时代，全球经济纵深发展，人类命运共同体日趋形成，人与人、国家与国家间的联系日益密切，这时，汉语公示语的英译问题便被提上了议程。尽管中国汉语公示语的英译翻译员越来越多，但是汉语公示语的英译问题层出不穷。本文简析了汉语公示语定义，例举了生活中常见的一些汉语公示语的英译典型问题，并针对此给出了一些翻译方法与策略，并进行了未来展望。<br /> <br /> 关键词：汉英翻译；公示语；翻译策略<br /> <br /> <br /> '''A Brief Analysis of the Chinese-English Public Sign Translation'''<br /> <br /> MTI Yuan Tianyi <br /> <br /> '''Abstract''': In this economic globalization, political polarization, cultural globalization, technological modernization and informative sharing age, the global economy is deeply developing, and the human community with a shared future is coming into shape day by day. The relations among people and among countries are increasing day by day. At this time, the problems of Chinese-English public sign translation become the topic of us. Though the number of Chinese-English public sign translators in China grows daily, the problems of Chinese-English public sign translation emerge endlessly. This passage offers a brief analysis of the definition of Chinese-English public sign, points out some typical problems in Chinese-English public sign translation we see in daily life, analyzes some methods and strategies of Chinese-English public sign translation, and gives some outlooks on the future of Chinese-English public sign translation. <br /> <br /> '''Key Words''': Chinese-English translation; public sign; translation strategies<br /> <br /> '''A Brief Analysis of the Chinese-English Public Sign Translation'''<br /> <br /> '''I. Introduction'''<br /> <br /> The public sign is a specially applied literary form that was formed in modern times, which has a long history. It is used in public places and seen by the masses thus realizing unique communicative purposes. The public sign has become a crucial link in the communication between China and other countries in the international community. In the meantime, there are increasingly more experts and scholars paying attention to the translation of Chinese public signs into English. (Reiss, 2004). <br /> <br /> As an important tool for international communication, Chinese-English public sign translation plays an extremely important role in foreign friends’ understanding of Chinese culture（Wang Huili, 2019）. Its applied range is so wide that nearly covers every aspect of our daily life, including: Introductions of tourism trips, propaganda languages, warning languages, road signs, shop signs and advertising boards. It is mostly used on public infrastructure: Subway, airport, taxi, pier, tourist spot, park, street, community, shop, supermarket, restaurant, bank, hotel, cinema, hospital and etc. It uses simple words or sentences, or pictures only, or combines words and pictures to pass useful information to the masses, which not only serves Chinese people, but also is shown to the foreigners, which can help foreigners in China study, work and live. <br /> <br /> '''II. The Current Situation of Chinese-English Public Sign'''<br /> <br /> Public signs are an art of convincing others through effective verbal means, which are also components of language activities. They, in essence, belong to a special kind of communication. However, it is not a kind of face-to-face communication that takes place in a specific period of time, and none of the participants will appear as individuals. The object is for all the people with social behaviors in the place, regardless of gender, age, class or education level. Public signs belong to “one-way communication”, and its binding force or influence will not be as big as direct communication, but it is also used to act with words and deeds, and affects the behavior of the audience with a clear purpose. <br /> <br /> Public signs are everywhere, so what are their functions? Zhou Shuxia (Zhou Shuxia, 2017) thinks that, their functions can be divided into showing, warning, profiting, encouraging and eulogizing such five functions. <br /> <br /> Firstly, the public sign that has showing function offers all-round information about service, order, or informing service. Such as “Car Rental” and “Children and Senior Citizens Free”.<br /> <br /> Secondly, the public sign that has warning function comes up with restrictive or obligatory demands to typical people, which is often used through order, ban, information or persuasion tones. Such as: “Stand in Line” , and “Thieves Beware”. <br /> <br /> Thirdly, the public sign that has profiting function promotes consumption, thus realizing enterprises’ economic profits. Such as: “Daily Special”, “Daily Service”. <br /> <br /> Fourthly, the public sign that has encouraging function calls for or encourages people to take actions for certain goals or tasks. Such as: “One Family, One Child”, and “Working together, we can make a world of difference”. <br /> <br /> Fifthly, the public sign that has eulogizing function gives wishes and chants to certain events or people to reach the goals of propaganda or education. Such as: “One World, One Dream”. <br /> <br /> Eugene Nida (Eugene Nida , 2004) said, Chinese-English translation of public signs embraces the conversion of two different languages and two different cultures, which is not only to achieve the language equivalence, cultural equivalence, but also to enhance the possibility of understanding and the reading of Chinese-English translation of public signs.<br /> <br /> Public signs are the translation with strong humanistic color (Wu Haoxi , 2019). <br /> <br /> However, there are many problems in Chinese-English public sign translation.<br /> <br /> In 2003, Clive W. J. Granger, a Nobel Economics Prize Winner talked of the settings and problems of public signs in Beijing when he was interviewed by a program of Beijing TV Station. He said: “Foreigners will feel a little bit nervous when they come to China, because they can not understand public signs in China. ” Clive’s comment extremely shows current problems in Chinese-English public sign translation (Lv Hefa, 2005). <br /> <br /> On June 20th, 2017, a national standard conference of the Standard for English Translation and Writing in the Field of Public Service was held in Beijing. The Vice Minister of the Education Ministry and Director of the National Language Commission stressed in the meeting: “The language and character industry of China is expanding from ‘striving to promote and normally use the national common language, scientifically protecting every nation’s language and character’ to ‘managing social foreign language use and improving foreign language service quality’. ” The national standard of the Standard for English Translation and Writing in the Field of Public Service is the standard of English translation and writing quality in public service fields, which stipulates the English translation principles, methods and requirements of transportation, tourism, culture, entertainment, physical exercise, education, medical health, postal service, telecommunication, catering, accommodation, commerce and finance these thirteen service fields. <br /> <br /> To sum up, there are still many major problems in China’s public sign translation, common and ubiquitous, which make foreign experts comment like that and the government use national force to normalize translation standards. Whether the translation of public signs in scenic spots into English is harmonious and unified has a great influence on cross-cultural communication (Pinkham John, 2000). <br /> <br /> '''III. The Causes of Chinese-English Public Sign Translation Mistakes'''<br /> <br /> '''3. 1 The Basic Linguistic Mistakes'''<br /> <br /> To be a proficient Chinese-English public sign translator, one must, fundamentally, grasp basic linguistic rules of English and Chinese, otherwise he or she must make stupid mistakes, and some even primary learners will not make. <br /> <br /> [[File:No.1.jpg|250px|thumb|left|No.1<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3684466622,1422277554&amp;fm=27&amp;gp=0.jpg] for original source.]]<br /> <br /> No.1 is a public sign put on a glass wall in a mall, the Chinese reads“全年无休(QUAN NIAN WU XIU)”, and it tries to use English to express that “This business runs the whole year”, so the precise translation should be “NO REST DAY ALL YEAR”. But there, we can see it was translated as“365DAY SA TEAR”, which does not belong to the grammatical law of English. So this is a big mistake. Only one who understands Chinese can understand. But for ordinary foreigners, they can not. So, when translating Chinese-English public sign, the translator must be clear about the target language, and know the basic grammatical venation, then begin to translate, instead of randomly putting some letters together and finishing. Otherwise, the translator will make a big mistake like this picture.<br /> <br /> A public sign in Haichang Ocean Park of Chengdu City, Sichuan Province reads &quot;Jellyfish Museum, the 2th floor&quot;. More specifically, it is a floor direction sign. Here, the correct English for the second floor should be “2nd”, not “2th”. Apparently that the translator has poor knowledge of English vocabulary, which led he or she to make such a ridiculous mistake. Actually, in English language, if there is a number contains “11”, “12”or “13”, its ordinal numeral should be written as “11th”, “12th” or “13th” respectively; And if there is a number contains“1”, “2”or “3”, its ordinal numeral should be written as “1st”, “2nd” or “3rd” respectively. For example, “101st”, “111th”, “201st”, “211th” and etc. <br /> <br /> No.3 is a warning sign of a tourist spot, reads &quot;The rockery danger, pleases no climb&quot;, whose Chinese meaning is “There stands a rockery, it is dangerous to climb, every one is forbidden from climbing it. ” The Chinese meaning is alright. But, when it was translated into English, a big mistake occurred: “The rockery danger Pleases no climb.”<br /> <br /> First, there should be “climbing” after “no”, not “climb”, this is just English grammar knowledge that can be learned in primary school; And the “Please” is followed by a “s”, why does the translator use third person singular at the top of a imperative sentence? Second, if the translator wants to tell the tourists that the rockery is dangerous and mustn’t be climbed, he or she should write: “The rockery is dangerous. Please don’t climb” or “Dangerous rockery. No climbing” or just “No climbing”. Unless the foreigners who see this sign have supreme understanding ability, they will not easily make sense of it. <br /> <br /> 3. 2 The Tendency Towards Chinglish and Mechanical Translation<br /> <br /> Knowing a little about English, then begin to translate public sign. This is ridiculous, which is definitely going to cause obvious mistakes. Especially when translating, there is a high probability that the translator will make Chinglish errors, or tend to seek for mechanical translation, which are the most common public sign translation problems in mainland China. With regard to the tendency towards Chinglish, it only proves that the translator’s basic skills of English are not so proficient, and he or she does not fit for translation work. For the tendency towards mechanical translation, on the one hand, it demonstrates that the translator is lazy, who is not willing to think about how to translate. On the other hand, it reveals his or her lack of basic English language knowledge. In fact, these two both can be easily avoided, only if the translator pays a little more attention to it or is earnest and dedicated to their work. All those mistakes should not have been made. <br /> <br /> No.4, this is a sign that is hung in an Internet celebrity milk tea shop: Sexytea of Changsha City, Hunan Province. It reads &quot;out of the cup area&quot;. It originally means that the customers should queue here to get their milk tea after finishing paying. The translator should have easily translated “出杯区（CHU BEI QU）”into “FETCH AREA”, but it was translated as “OUT OF THE CUP AREA”, what a joke! Purely it was translated word-for-word. The translator did not understand its true meaning. Probably it was translated by a machine. As an Internet celebrity milk tea shop runner, when dealing with such kind of cultural issues, he or she should be extremely careful, earnest and cautious, instead of casually simply copying the contents given by a machine or hiring a third-rate translator and asking him or her to randomly translate. Large scale milk tea shops must shoulder their required obligations, and undertake necessary responsibilities and duties on public sign translation. Imagine that a foreigner, who can not understand it, stand there and think: What? Standing here is standing outside the cup? Maybe something interesting would happen. Let me try!<br /> All those will bring big and standing jokes. <br /> <br /> No.5 is a public sign in Mount Emei of Emei City, Sichuan Province. It reads&quot; tourists get off area&quot;. Its Chinese meaning is: This is the place that tourists get off from a bus. But, it was translated as “Tourists get off area”, which fully shows the ignorance and lack of English language knowledge of the translators. People may can not help doubting whether it is copied from the translation given by a machine. Famous tourist spots like this, especially this kind of 5A tourist spot, can not even shoulder the cultural obligations, let alone developing in the long run. They should make big mistakes in such a little public sign translation! Do they only want to serve Chinese well while ignoring foreigners?<br /> <br /> Similarly, No.6 is a public sign in Mount Emei of Emei City, Sichuan Province, and it reads &quot;up the mountain&quot;. The Chinese meaning is “This is the passage that leads tourists to climb the mountain”. The translation should have been a very easy and fun job, but when the sign is showed to tourists, a big big joke was born: “Up the mountain”. We can say “uphill way” or “uphill passage”, but, the translator obviously did not realize it. What’s more, when “up” is used as a verb, it is completely another meaning. It is also the symbol of such irresponsible spot management. <br /> <br /> No.7, it is a napkin given by an Internet celebrity milk tea shop (Sexytea of Changsha City, Hunan Province ) for free after buying its milk tea. It reads &quot;more China, more fashion&quot;. At first glance, everything seems okay. But more carefully, we can find the mistake. The Chinese meaning is “If there are more elements with Chinese characteristics, it will be more fashionable.” But when translating, maybe with the aid of machine, or lack of a solid English knowledge foundation, it becomes “More China, more fashion”. If the customer is a Chinese, it does not matter, for he or she can understand it, and just shows a smile. But if foreigners see, they will be pretty shocked by the sight: What the hell is this? They will think that this shop lacks money to hire a good translator, and the managers are stupid. Furthermore, the Chinese national image will be badly affected. In fact, this sentence can be translated as “The more sinicization there is, the more fashion there will be” or “With greater Chinese characteristics come more fashion”. Easier? It can be “More sinicization breeds more fashion”. Translated like these, won’t it be much more correct and intelligible?<br /> <br /> '''3. 3 The Misunderstanding of the Public Sign Translators'''<br /> <br /> It is the little knowledge of English of the translators that makes them can not even spell a basic word correctly; Or due to carelessness, they make mistakes on public sign translation, thus causing mistakes on the meaning of the sign. All these are significant reasons why there are so many mistakes in Chinese-English public signs. <br /> <br /> [[File:No.8.jpg|250px|thumb|left|No.8<br /> [https://www.sinaimg.cn/edu/cr/2015/0316/3124267229.jpg] for original source.]]<br /> <br /> No.8. The Chinese meaning of it is “The door or passage that leads you to the outside”, in short, “EXIT”. But the public sign was translated as“EXPORT”, so, what is “EXPORT”? In a word, it means trade among different countries. The commercial goods pass through the customs, being transported from one country to another country. Distinctly, the maker was careless, who has mixed the meaning of “出口（Chu Kou）”in Chinese, thus resulting in an obvious translation error. As for public sign translation, translators must weigh every word, and think over and over and over again, not just search online, and grab all the words you “discover”, which is a highly irresponsible behavior, an extremely irresponsible behavior to the society and the country . <br /> <br /> [[File:No.9.jpg|250px|thumb|left|No.9<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=4069547043,45136776&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.9 is from a hospital department. Its Chinese meaning is: Here is neurology emergency department. It uses a special logogram in Chinese. But, the maker was misled, so, he or she translated it as “God Medical”. If a person has a little common sense, he or she will be made to laugh wildly. It is completely the “Understanding of a sentence simply by a word”! That should be translated as “ Department of Emergency Neurology”. Such a casual translation will make Christians think that they can see God for real. Whether can he see death here or a way to heaven with a passionate God serving you? To some extent, this is disrespect for Christians, which can even cause disputes. <br /> <br /> <br /> [[File:No.10.jpg|250px|thumb|left|No.10<br /> [https://ss0.baidu.com/6ON1bjeh1BF3odCf/it/u=4055489075,1169617432&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.10 is photographed in a company building. Here, the Chinese means: this is the place where you can get boiled water. However, the translator of this public <br /> sign made a huge mistake, because he or she disintegrated the three Chinese words one by one, and thus translating them one by one, which can not be understood as a whole, let alone enable foreigners to understand the meaning of this public sign, and as a result, foreigners may not receive the service that they deserve. What’s worse, many people, including intelligent Chinese, when seeing this disqualified translation, will definitely be amused, and feel funny: What is this guy’s literate level?<br /> <br /> As a matter of fact, this public sign can be translated as “Boiled Water Room”. “开水”means “boiled water” in English. Certainly, the translator treated the “开”as a verb “open”, which is absolutely wrong. <br /> <br /> Further, this is a single room, not two or more, so we must use “room”, which is the plural form, instead of the singular form “rooms”. <br /> <br /> 3. 4 The Falsification and Loss of Information<br /> <br /> Originally, the managers want to use signs to warn people, but due to mistranslation, the information is tampered and missed, resulting in an opposite consequence, and producing big jokes. <br /> <br /> No.11 is a public warning sign in Liuxiang Barbecue Restaurant. It reads &quot; carefully hot&quot;. Is it a true warning? In the foreigners’ opinion, it is not. People who speak Chinese can realize that this sign was designed to warn customers not to be burned by the hot oven. However, the English translation is far from what it originally means. The correct translation can be “Careful! Hot!” or “Be Careful of the Hot Oven!” But according to the translation on the sign, it means “Carefully burn yourself”. Luckily, this is a small scale restaurant, if it were a large one, its reputation would be badly affected. <br /> <br /> <br /> [[File:No.12.jpg|250px|thumb|left|No.12<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3765137851,1011242048&amp;fm=27&amp;gp=0.jpg] for original source.]]<br /> <br /> No.12 is a public sign in a large shopping center. As we all know, modern shopping centers now always use smooth and shiny tile floor as the ground, which makes the shopping centers look beautiful and attractive. However, smooth though it is, one big safety problem then comes into shape: The ground is too smooth to make shoppers slide and fall. Later, the managers made public signs like No.12 to warn people not to fall. The Chinese warning is okay, Chinese shoppers can understand, but when foreigners see this, he or she will burst out laughing: What? You order me to slide on the floor with care? What on earth do you mean? I have even seen an Internet celebrity girl posting an video clip that tells us a story that satirizes this mistranslation: The girl and her father slide joyfully on the ground in a shopping center while murmuring “Carefully slide! Carefully slide!” As a matter of fact, The correct Chinese-English translation should be “Caution! Slippery!” or “Beware of Wet Floor” or “Caution! Wet Floor”. Each one of the three is okay. <br /> <br /> [[File:No.13.jpg|250px|thumb|left|No.13<br /> [https://ss2.baidu.com/6ON1bjeh1BF3odCf/it/u=461657809,3986868053&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.13 is a public sign that is put on the ceiling of a restaurant’s stair. Here, the translator wanted to pass such information by Chinese and English: Watch <br /> your head, do not hit the low ceiling of the stair. Be careful. Though the Chinese information is okay, the English, however, can not by understood by others, especially foreigners. <br /> <br /> Here, the makers wanted to warn the danger of the low ceiling, not to ask people to purposely hit the ceiling. So we can correct it as: “Watch Your Head”, or “Be Careful”. Both are okay. <br /> <br /> Here, the translator made a mistranslation, which reversed the original meaning when translating, thus producing a huge laughingstock. First, “碰”is not “meet”, but “hit”, according to this specific environment. It does not mean “meet someone”. Second, “小心碰头” means not to hit the ceiling, not to “meet carefully”. <br /> <br /> Throughout so many examples, every one can see that the mistakes of public sign translation are ubiquitous and common in daily life, which you can even randomly pick up one from any store you meet. Pervasive errors like these in public signs will negatively affect China’s reform and opening-up and the integration into international community, which will not only make foreigners misunderstand the meaning, but also seriously damage China’s national image. Therefore, the study of the public sign translation is extremely urgent and imperative. At present, translators must start from basic demand of Chinese-English public sign translation, endeavor to learn English well, cultivate a good sense of utilizing English and a great mindset of English utilization, proactively take part in English translation practice, and be highly alert and form a sense of “Using English language in a proper, correct, suitable and decent way”. Only then will the situation of Chinese-English public sign translation turn better. <br /> <br /> IV. Public Sign Translation Methods<br /> <br /> There is a saying goes: “Nothing can be accomplished without norms or standards. ” So is the Chinese-English public sign translation. Zhang Yan (Zhang Yan, 2015) maintains in her paper that, the public sign translation methods can be summarized as four kinds. <br /> <br /> '''4. 1 Amplification'''<br /> <br /> Many new words that are with Chinese characteristics, especially combined with numbers, need using amplification to introduce to foreign readers. For example, in the past, “五讲四美三热爱(Wu Jiang Si Mei San Re Ai）”was translated as “Five Stresses, Four Beauties and Three Loves”. Many foreigners said that they could not understand it. Later, it was revised as “Five Stresses, Four Beauties and Three Loves” with the notation “ stress on decorum, manners, hygiene, discipline and morals; beauty of the mind, language, behavior and the environment; love of the motherland, socialism and the Communist Party”. Hence, foreigners can easily understand its connotation. <br /> <br /> '''4. 2 Ellipsis'''<br /> To make sure that the translation is concise and intelligible, when doing Chinese-English translation, translators must properly delete unnecessary words according to English expressing habits to achieve overall generalization. Such as: “Food Paradise”. <br /> <br /> '''4. 3 Re-translation'''<br /> Due to cultural differences, many folk adages with Chinese characteristics will not be understood by readers once simply read literally. So translators can moderately reorganize those sentences that can not be translated or understood. Such as: “Drinking and Driving Costs Your Life”. <br /> <br /> '''4. 4 Backward Translation'''<br /> <br /> There are two cases: Translating the cultural expressions that are borrowed from translation back into their original forms in the target language; Translating the expressions with obvious cultural characteristics into the idiomatic expressions in the target language. Such as: “Venus Florist”. <br /> The English public sign has its own cultural and pragmatic meanings. When doing the Chinese-English public sign translation, translators should consider about the cultural differences and avoid any form of ambiguity, misunderstanding or mistranslation, and offer high quality information service, thus making public sign translation advance with the times. <br /> <br /> V. Public Sign Translation Strategies<br /> <br /> He Xueyun (He Xueyun, 2006) holds in her thesis that, theoretically, semantic translation and communicative translation differ much. Semantic translation strives to keep the language specialty and unique express method of the original work, in order to express the original work’s thinking process; However, communicative translation’s key point lies in spreading information and enabling people to think, feel and act, giving play to the function of information that language conveys and the consequences it causes. Public sign translation must focus on results, and put readers first, only by this can we improve the current situation of public sign translation, thus achieving the purposes of public sign translation. <br /> <br /> Before beginning to do anything, we all need a world view and methodology to guide us to behave well. Likewise, when doing Chinese-English public sign translation, we also need guiding ideology to direct us. Here, I will show you four Chinese-English public sign translation strategies, which act as guiding ideology, which are definitely going to be a powerful weapon for you. Just remember them and practice them, you will gain a lot. <br /> <br /> '''5.1 No Grammatical, Semantic and Logical Error'''<br /> <br /> The most basic prerequisite of public sign translation is that there is no language error: No grammatical error, no vocabulary spelling error, no language context error, no Chinglish or machine-aided translation error. <br /> <br /> “This is office area, tourists mustn’t enter” can be translated as “Staff Only”, not “OFFICE AREA PLEASE DON’T COMING”, or you will make a grammatical and redundant error. “Be careful, don’t slip into water” can be translated as “Caution! Deep Water!” instead of “TAKE CARE! FALL INTO WATER CAREFULLY!” Otherwise, people will can not help laughing. <br /> <br /> One translator was not able to translate “The grass is so beautiful, are you sure you wan to walk on it?” into English public sign, so here comes <br /> “Fangcaoqiqi riding the Heren”. What a laughingstock! This is a combination between Chinese and English, without any grammar structure. Not to translate it will be a much better choice. We can concisely translate it as “Don’t Walk on the Beautiful Grass!”<br /> <br /> '''5. 2 Concise and Intelligible Translation'''<br /> <br /> One prominent character of public sign is conciseness. It asks people to ensure the translation is crystal clear and precise, without any compound or obscure sentence. Only by achieving this can the signs become popularized, instead of making people think over and over and over again to discover their cryptic meaning. <br /> <br /> The public sign translation must be concise and intelligible, which means that you not only need to precisely convey what the maker means to people, but also must be concise. People can understand it immediately without comprehension deviation or ambiguity. <br /> <br /> '''5. 3 Understanding of Cultural Background Differences'''<br /> <br /> When translating, every translator must thoroughly understand the culture of the targeted language. Translators must comprehensively understand each specific use of the targeted language under different cultural backgrounds. If not doing so, it may cause severe disputes, and even cause irresistible outcomes. Here are several examples. <br /> <br /> “Dragon” is a legendary animal in traditional Chinese culture. Chinese people often view themselves as “dragon”, and even say that they are “Descendants of the Dragon”. Thus, “Dragon” means holy and sacred thing in Chinese culture. But in English speaking countries, the meaning of “dragon” is not so. In these countries, “dragon” means something evil like Satan, sometimes it is even used to describe thugs, scoundrels or other bad behaviorists. Therefore, invariably coping the icon of “dragon” and using it in other cultures is a definite mistake. In a word, a public sign language translator must totally comprehend the cultural background differences. <br /> <br /> '''5. 4 Obedience to Certain Norms and Standards'''<br /> <br /> As long as someone is translating, he or she must obey certain rules, norms and standards. He mustn’t translate according to his will. This is a truth. <br /> For example, according to China’s first set of standards on how to regulate the use of foreign languages in China, which was jointly issued by the State Standards Commission and the General Administration of Quality Supervision, Inspection and Quarantine on November 20, 2017 and officially implemented on December 1, 2017, some of the standards have been specified in detail. <br /> <br /> Names of tourist spots: Names of mountains, rivers and lakes should be written in Chinese pinyin. Translations of names of temples should vary according to different situations, so are the towers’ names. In line with external service needs, English explanations can be added. <br /> <br /> '''VI. The Future of Chinese-English Public Sign Translation'''<br /> <br /> China is a major powerful country, and is the country with the second highest Gross Domestic Product in the world, which is why China should keep close economic and cultural relationships with other countries. In order to integrate China with international community in a better way, there must be high quality public sign translation. <br /> <br /> High quality public sign translation must improve the China’s influence power in international community. High quality public sign translation represents that China is rich in translators and intellects, and shows that China can fulfill obligations and shoulder responsibilities as a major country. Achieving this means China not only takes responsibilities for Chinese people, but also for all human beings. Good quality public sign translation is definitely going to significantly synergize the course of reform and opening-up. <br /> <br /> High quality public sign translation is obliged to facilitate foreigners to travel in China, boost domestic consumption demand, form a new growth point for economy, promote the rise of Gross Domestic Product, and accelerate the comprehensive, coordinated and sustainable development. High quality public sign translation is also an integral part of the New Development Philosophy: Innovation, coordination, green, open and share. High quality public sign translation corresponds to the New Normal of Chinese economy. At present, the economy of China has been changing from developing at a high speed to develop at high quality, and is at the stage of changing economic development mode, transforming driving forces of economic development and optimizing the economic structure, so high quality public sign translation is badly needed. Thus, considering the big change of Chinese economy, achieving high quality public sign translation is an urgent affair. <br /> <br /> High quality public sign translation has the duty to embody a city’s humanism spirit, cultural speciality and charm, which is the inevitable requirement of core socialist values and system. It also promotes the spreading of Chinese culture, and improves the influence power of Chinese culture. High quality public sign translation also levels up Chinese people and overseas Chinese’s sense of identity and belonging. What’s more, it can narrow the gap between Chinese and foreigners, and acquire more recognition from them towards China. Domestically, high quality public sign translation can strengthen national cohesion; Externally, it will strengthen China’s soft power, and increase China’s international speaking right while creating national radiation power. <br /> It is an important measure to improve China’s public service and governance capability by establishing an evaluation mechanism and promoting the standardization of English translation. It is of great benefit to further improve China’s service level of opening to the outside world, demonstrate its cultural soft power and enhance its international image (Guo Jinghong, 2019). <br /> <br /> In short, looking forward to the future of Chinese-English public sign translation from a strategic perspective, translators must remain true to their original aspiration and keep their mission firmly in mind, which is: To be devoted to the future of socialism with Chinese characteristics, to be dedicated to the landscape of translation of socialism with Chinese characteristics, and to be committed to the sustainable development of Chinese-English public sign translation of socialism with Chinese characteristics. <br /> <br /> We must treat Chinese-English public sign translation with the point that advances with the times (Tian Guomin, 2019). The English translation of public signs of tourist attractions belongs to the category of cross-cultural communication, and the translator should have certain cross-cultural knowledge and awareness, so that the English translation can be more understood and accepted by the audience and truly achieve the purpose of cross-cultural communication (Yang Hongyu, 2019). The communicative translation theory aims for the target readers (Gutt, 1991). Translation of public signs is a very important task in China with the increasing connection to the outside world (Newmark, 2001). Since reform and opening-up, China has been integrating into the international community day by day. To fully achieve this, as regards of Chinese-English public sign translation, we still have a long way to go. There is no time for us to delay the work of strengthening, proceeding, and improving public sign translation. The rising level of quality of Chinese-English public sign translation will improve both city image and urbanization level. He Xueyun contends in her article that, many people take it for granted that if one knows a foreign language, he then can translate. As a matter of fact, basic skills of public sign translation not only includes foreign language level, but also the knowledge of foreign cultures. <br /> <br /> '''VII. Conclusion'''<br /> <br /> So, how to facilitate the overall development of Chinese-English public sign translation？Firstly, we need to keep pace with the times. Language is constantly changing, so are many words and idioms, and so are public signs. In order to accurately convey information to the audience, it is essential to integrate the latest, most reliable and most accepted language into public signs. Secondly, it is necessary to fully understand the idiomatic usage of public signs, because public signs are mainly aimed at English speakers, so it is necessary to strengthen the accumulation of words, phrases and idioms, which is also the basis of translation. Thirdly, the translators of Chinese-English public signs should use accurate words and phrases in combination with specific environment and objects, and should not fail to convey the meaning or deviate from the original meaning, which otherwise will result in misunderstanding. Of course, only achieving the above is not enough. In order to do a good job in the translation of Chinese-English public signs, we need to keep improving our translation attitude and spirit of study, and constantly improve and summarize and innovate on the basis of the original, so as to make the translation of Chinese-English public signs more perfect and recognized by the international audience. It is very important for the academic community and people from all walks of life to analyze the problems in the application of public signs and put forward corresponding improvement countermeasures (Liu Xiaoping, 2019). <br /> <br /> A Chinese-English public sign translator must fully realize and shoulder the responsibilities that translators must carry, form a sense of community of a shared future, fully acknowledge the current situation of Chinese-English public sign translation, completely learn lessons from the predecessors who have made mistakes in Chinese-English public sign translation, totally implement the four public sign translation strategies I mentioned before, to make Chinese-English public sign translation serve the construction of a moderately prosperous society in all respect, the construction of modern powerful socialist country, the construction of building China into a great modern socialist country that is prosperous, strong, democratic, culturally advanced, harmonious, and beautiful, and the realization of the great Chinese dream, that is: the great rejuvenation of the Chinese nation. <br /> <br /> <br /> Bibliography<br /> <br /> [1]Eugene Nida &amp; Charles Taber. The Theory and Practice of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2]Gutt &amp; Ernst, Agust. Translation and Relevance: Cognition and Context [M]. Shanghai: Shanghai Foreign Language Education Press. 1991.<br /> <br /> [3]Newmark, Peter. Textbook of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]Pinkham, John. The Translator’s Guide to Chinglish [M]. Beijing: Foreign Language Teaching and Research Press, 2000.<br /> <br /> [5]Reiss. Translation Criticism: the Potentials and Limitations [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [6]国家标准委. 公共服务领域英文译写规范[S].2017.<br /> <br /> [7]郭京红. 公示语英译中的错误观点与评价方式[J]. 海外英语, 2019,(23):154-155. <br /> <br /> [8]贺学耘. 汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006,(03):57-59. <br /> <br /> [9]刘小平. 公示语翻译中存在的问题及对策[J]. 凯里学院学报, 2019, (04):72-74.<br /> <br /> [10]吕和发. 公示语汉英翻译研究——以2012年奥运会主办城市伦敦为例[J]. 北京:中国翻译, 2005,(06):38. <br /> <br /> [11]田国民. 谈汉语公示语的英译[J]. 英语教师, 2019, (22):110-113. <br /> <br /> [12]王回力. 汉英公示语翻译的现状及其交际翻译策略[J]. 延边教育学院学报, 2019, (05):31-33. <br /> <br /> [13]吴浩熙, 李海红. 功能对等理论下的公示语翻译及策略[J]. 海外英语, 2019,(20):59-61. <br /> <br /> [14]杨洪玉等. 旅游景点公共标识语的英文翻译[J]. 北京工业职业技术学院学报, 2019, (04):122-126. <br /> <br /> [15]张焱. 汉英翻译过程中的难译现象处理[M]. 北京:中国社会科学出版社, 2015,(16):44-46<br /> <br /> [16]周树霞. 浅析公示语的汉英翻译[J]. 校园英语, 2017,(42):239-239.<br /> <br /> == Research on the Features of Machine Translation and Its Relationship with Human Translation 欧阳静兰 OuYang Jinglan==<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Domestication and Foreignization in Translation: Functionalist Approaches Explained 汤蓓 Tang Bei==<br /> <br /> ===Abstract===<br /> ===摘要===<br /> ===Introduction===<br /> ====Definition of Domestication and Foreignization====<br /> ====Functions of Domestication and Foreignization====<br /> ===A Brief Introduction to Functionalist Approaches===<br /> ====Skopos Theory====<br /> ====Theory of Translational Action====<br /> ====Text Typology====<br /> ===Account for the Choice of Domestication and Foreignization with the Notion of Functionalist Approaches===<br /> ====From the Viewpoint of Skopoos Theory====<br /> ====From the Viewpoint of Translational Action====<br /> ====From the Viewpoint of Text Typology====<br /> ===Conclusion===<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br />  <br /> 摘要：一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名代表作家，2012年获得诺贝尔文学奖，外国对其作品的翻译研究从未断过。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其过人之处，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度。<br />  <br /> <br /> 关键词：归化；异化；葛浩文；莫言的作品<br />  <br /> <br /> Abstract: For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. The study on his works about translation abroad has never stopped. Howard Goldblatt is a famous American  translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflects in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out the extraordinary of this application and consider the matters that should be paid attention to when translating Chinese literary works into English to strengthen the understanding and improve the fluency of the exchange between different cultures.<br />  <br /> <br /> Key words: Domestication; Foreignization; Howard Goldblatt; Mo Yan’s works<br />  <br /> <br /> 1.Introduction<br /> <br /> 2. Domestication and Foreignization<br /> <br /> 2.1. The Definition of Domestication<br /> <br /> 2.2 The Definition of Foreignization<br /> <br /> 3. Howard Goldblatt’s Translation Strategies on Chinese Literary Works<br /> <br /> 4. The Embodiment of Domestication and Foreignization in Mo Yan’s works<br /> <br /> 5. The Enlightenment under the Application for Translation<br /> <br /> 6.Conclusion<br /> <br /> Bibliography--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 15:39, 6 November 2020 (UTC)Ou Rong<br /> <br /> ==Domestication and Foreignization in the Course of Translation Under the Direction of Skopostheorie 谭星越 Tan Xingyue==<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> <br /> ==='''Abstract'''===<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two methods to deal with culture: domestication and foreignization. This article will introduce the two translation strategies of domestication and foreignization and explore how to reasonably use them in cross-cultural translation.<br /> <br /> ==='''Key words'''===<br /> Domestication Foreignization Cross-cultural Translation <br /> <br /> ==='''摘要'''===<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择这两种翻译方法。<br /> <br /> ==='''关键词'''===<br /> 归化 异化 跨文化翻译--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 00:55, 1 November 2020 (UTC)<br /> <br /> ==='''Introduction'''===<br /> Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.<br /> Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation to choose the translation strategies and methods reasonably.<br /> This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.<br /> <br /> ==='''Domestication and Foreignization'''===<br /> The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. In his speech &quot;On the Different Methods of Translating&quot; in June 1813 Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader (Jiang 2016). Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication.<br /> <br /> '''Introduction of Domestication'''<br /> According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus “bringing the author back home” (2009).Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers. <br /> In this sense, the biggest advantage of the domestication is that it make the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation method also has its shortcomings. When translators adopt domesticating method, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers' understanding of foreign culture.<br /> Eugene Nida is the representative figure advocating domestication. Nida's functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domestication translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida 2004). In other words, dynamic equivalence means that the reader's response to the translation is consistent with that of the original. Nida's dynamic equivalence theory fully considers the reader's language culture and the reader's ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida's dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers' strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domestication translation.<br /> <br /> '''Introduction of Foreignization'''<br /> According to Venuti, foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad (2009). In other words, in order to show the cultural characteristics of the source work, translators use foreignising method during the translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar. <br /> Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication.<br /> Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation does not conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. In order to achieve this goal, the translator must adopt the foreignization translation method, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language (Jiang 2016). In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language.<br /> In his book The Translator's Invisibility, Venuti expressed his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. First, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language. In fact, in the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language. Second, foreignization translation is reflected in the language used by the translator in the process of translation. This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects. In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language. Thirdly, foreignization translation is embodied in cultural alienation. By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations. Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center (Jiang 2016). Venuti believes that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenged and questioned this phenomenon. He said that the smooth translation covered up the translator's intervention and interpretation of the original text, and covered up the language and cultural differences of the original work. Therefore, he put forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation (Fang 2011). Venuti challenged the dominant position of British and American culture and introduced the idea of weak culture by advocating resistant translation. Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand the cultural diversity.<br /> <br /> ==The Application of Domestication and Foreignization in the Translation of Chinese Allegorical Sayings 龚钰冕 Gong Yumian==<br /> <br /> '''Abstract''': Chinese Xiehouyu (allegorical sayings) is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese and English allegorical sayings is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese allegorical sayings has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese allegorical sayings, and to explore their translation strategies.<br /> <br /> '''摘要'''：汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。<br /> <br /> '''Key Words''': Chinese Allegorical Sayings, domestication and foreignization, translation strategy<br /> <br /> '''关键词'''：汉语歇后语；归化和异化；翻译策略<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> <br /> == A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory==<br /> &lt;center&gt;周思庆 Zhou Siqing&lt;/center&gt;<br /> ==='''Abstract'''===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ==='''Key words'''===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ==='''摘要'''===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ==='''关键词'''===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ==='''Introduction'''===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations. Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words. As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy<br /> her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> <br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party.<br /> <br /> Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production” (Reiss and Vermeer, 1984:196). Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized.<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> <br /> In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words====<br /> <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. <br /> <br /> Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.”(Baker, 2004:21). This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories.<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> <br /> 3.2.1 Ecological culture-loaded words<br /> <br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite.<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment.<br /> <br /> 3.2.2 Material culture-loaded words<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc.<br /> <br /> 3.2.3 Social culture-loaded words<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.<br /> <br /> 3.2.4 Religious culture-loaded words<br /> <br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo).<br /> <br /> 3.2.5 Linguistic culture-loaded words<br /> <br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.<br /> <br /> ==='''Conclusion'''===<br /> ==='''Acknowledgements'''===<br /> ==='''References'''===<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei==<br /> <br /> ==='''Abstract'''===<br /> <br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> Among the current English versions of this book, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Key Words'''===<br /> <br /> domestication; foreignization; Six Chapters of a Floating Life; Lin Yutang; culture-loaded words<br /> <br /> ==='''摘要'''===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ==='''Chapter One Introduction'''===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world.<br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. <br /> Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying.<br /> Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar.<br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Chapter Two Literature Review'''===<br /> <br /> 2.1 A Study on Six Chapters of a Floating Life<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. <br /> <br /> 2.1.1 A Brief Review of Its Original Version<br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?”<br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant.<br /> The remaining four chapters of Six Chapters of a Floating Life was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field.<br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham.<br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements.<br /> <br /> 2.1.2 A Brief Review of Its English Version Translated by Lin Yutang<br /> In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style.<br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness.<br /> In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence.<br /> <br /> 2.2 An Introduction of Culture-loaded Words<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps.<br /> <br /> 2.2.1 Definition of Culture-loaded Words<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. <br /> First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot; (2000:21). This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language (包慧南，2001：10). In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot; (张南峰，2004：19). From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc.<br /> <br /> 2.2.2 Categorization of Culture-loaded Words <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;(胡壮麟、姜望琪，2002). In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words.<br /> This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization.<br /> <br /> 2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life<br /> Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in Six Chapters of a Floating Life translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. <br /> <br /> ==='''Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life'''''===<br /> <br /> 3.1 Translation Strategy of Domestication<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers.<br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation.<br /> <br /> 3.1.1 Free Translation <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation.<br /> <br /> 3.1.1.1 Paraphrase <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text.<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> 3.1.1.2 Idiomatic Translation<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text.<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> 3.2 Translation Strategy of Foreignization<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below.<br /> <br /> 3.2.1 Transliteration <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language.<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> 3.2.2 Word-for-word Translation<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method.<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> 3.2.3 Literal Translation<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language.<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> 3.3 A Brief Conclusion on the Translation Strategies <br /> In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization.<br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life.<br /> <br /> ==='''Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'''''===<br /> <br /> 4.1 Domestication Applied in Culture-loaded Words<br /> In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication.<br /> <br /> 4.1.1 Free Translation of Culture-loaded Words<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. <br /> <br /> 4.1.1.1 Paraphrase of Culture-loaded Words<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words.<br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> 4.1.1.2 Idiomatic Translation of Culture-loaded Words<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> 4.2 Foreignization Applied in Culture-loaded Words<br /> In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization.<br /> <br /> 4.2.1 Transliteration of Culture-loaded Words<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> 4.2.2 Word-for-word Translation of Culture-loaded Words<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018： <br /> 13）<br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> 4.2.3 Literal Translation of Culture-loaded Words<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。 <br /> （沈复，2018：12）<br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ==='''Chapter Five Conclusion'''===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well.<br /> As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent.<br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.<br /> Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries.<br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words.<br /> <br /> ==='''Bibliography'''===<br /> <br /> [1]. Lawrence, Venuti. The Translator’s Invisibility [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> [2]. Eugene, A. Nida. Language and Culture: Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [3]. Eugene, A. Nida. Toward a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> [4]. Mona, Baker. In Other Words: A Coursebook on Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2000.<br /> [5]. 包惠南. 文化语境与语言翻译[M]. 北京：中国对外翻译出版公司，2001.<br /> [6]. 冯丽. 浅析文化视角下的林语堂译本《浮生六记》[J]. 漯河职业技术学院学报，2013(3)：116-117.<br /> [7]. 胡壮麟，姜望琪. 语言学高级教程[M]. 北京：北京大学出版社，2002.<br /> [8]. 刘艾莉. 认知翻译观视角下《围城》中文化负载词的翻译研究[MA]. 广东外语外贸大学硕士学位论文, 2015.<br /> [9]. 梁林歆，许明武. 国内外《浮生六记》英译研究：回顾与展望[J]. 外语教育研究，2017(4)：53-59.<br /> [10]. 李懿. 从归化和异化论林语堂《浮生六记》译本中文化词的翻译[J]. 英语广场·学术研究，2013(11)：43-44.<br /> [11]. 沈复. 《浮生六记》（双语版）[M]. 湖南：湖南文艺出版社，2019.<br /> [12]. 沈复. 《浮生六记》[M]. 浙江：浙江工商大学出版社，2018.<br /> [13]. 吴华玲. 林语堂中庸观在其译作中的审美再现——以林译《浮生六记》为例[J]. 云梦学刊，2010(3)：113-116.<br /> [14]. 王维维. 从形合与意合角度分析林语堂《浮生六记》译本[J]. 英语广场·学术研究, 2012(10)：46-47.<br /> [15]. 熊兵. 翻译研究中的概念混淆[J]. 中国翻译，2014(3)：82-88.<br /> [16]. 张南峰. 艾克拉西的文化专有项翻译策略评介[J]. 中国翻译，2004.<br /> [17]. 朱怡天. 《浮生六记》林语堂英译本中文化负载词的翻译[MA]. 上海外国语大学硕士学位论文, 2013.<br /> [18]. 翻译理论与翻译技巧论文集[C]. 北京：中国对外翻译出版公司选编，1983.<br /> <br /> ==How to keep &quot;Chineseness &quot; in Idiom Translation from Chinese to English 瞿淼 Qu Miao==<br /> <br /> 摘要：俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在汉语俗语英译过程中应该采取异化为主，归化为辅，并结合注释的方法，以此来最大限度地保持俗语的中国特色。<br /> Abstract<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 Han Haiyang==<br /> <br /> ==='''Abstract'''===<br /> under the context of close communication between eastern and western countries, cultural influence now is increasingly enjoying more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meaning and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently that the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase. <br /> <br /> ==='''Key Words'''===<br /> proverbs; culture; translation strategies<br /> <br /> ==='''摘要'''===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ==='''关键词'''===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ==='''Introduction'''===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> ==='''Chapter 1 General Introduction to English proverbs'''===<br /> <br /> 1.1 Definition of Proverbs<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”(Honeck, 1997: 12). Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” <br /> <br /> According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. <br /> Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it. <br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. .<br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.(ibid,2003:31) In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.<br /> <br /> Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain. <br /> <br /> 1.2 Characteristics of Proverbs<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others. <br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning. <br /> <br /> 1.3 Differences Between Proverbs and Maxims, Sayings, Idioms<br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. <br /> <br /> Some researchers disagree with each other on the definitions of these similar terms. Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher. Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description. <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others. <br /> <br /> ==='''Chapter 2 Relation Between Culture and Proverbs Translation'''===<br /> <br /> 2.1 Definition of Culture<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” (Katan,2004:16). While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).<br /> <br /> From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.<br /> <br /> 2.2 Language and Proverb<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> 2.3 Value and proverbs<br /> <br /> Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints. <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.<br /> <br /> 2.4 Cultural Similarity on Chinese and English Proverbs<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the word, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.<br /> <br /> 2.5 Cultural Difference in Chinese and English Proverbs<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into serval parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. <br /> As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. <br /> <br /> Except for living environment, living customs are also reflected on formation of proverbs. In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family. <br /> Different cultural heritage and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, within the range of translation, culture is a must during translation <br /> <br /> ==='''Chapter 3 Translation Strategies for English Proverbs'''===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development. <br /> <br /> 3.1 Domestication and Foreignization<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti, 2004:19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun’s opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” (罗新璋,1984:301), while foreign was “translation is like going abroad traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid,1984:301) <br /> Expect the definition of domestication and foreignization, translator when doing the work of translation should consider the perspective of culture and the intention of the writer as well as reader whether they want to the culture of source text to be originally intact or changed into readers’ culture.<br /> <br /> 3.2 Foreignization over Domestication for Translation<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators, as the exchange of economy and culture is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. In another way, people at that time are barely having the chance to access to education, in particular for poor family most of them are illiterate. It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed. So in choosing translation strategies, it is no doubt that it should be domestication centered. <br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.<br />  <br /> ==='''Conclusion'''===<br /> <br /> Proverbs are culture-loaded words that has been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offer the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool assisting foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.<br />  <br /> ==='''Bibliography'''===<br /> [1] 边晓霏. 从文化视角探究谚语翻译[MA]. 保定:河北大学, 2013.<br /> [2] 陈金诗. 英汉谚语的特征与翻译[D]. 武汉:中南民族大学, 2006.<br /> [3] 董晶,刘亚楼.英语谚语的文化内涵与翻译方法[J]. 河北联合大学学报(社科<br /> 版),2015,(1): p: 100-103.<br /> [4] 付艳丽. 跨文化语境下英语谚语翻译的意蕴与特征表达[J]. 济南职业学院学报, 2016,(4): p: 90-91.<br /> [5] 丁敏. 从文化视角看英语谚语的翻译[D]. 西安:西安外国语大学, 2014.<br /> [6] 郭敏. 英汉谚语中的文化差异及其翻译[D]. 重庆:西南大学, 2008.<br /> [7] 韩娇阳. 从谚语英汉互译中看文化缺省及其补偿策略[D]. 长春:吉林大学,2009.<br /> [8] 陆道恩.文化视角下英语谚语的翻译技巧[J]. 高教学刊, 2015, (24): P:257-258.<br /> [9] 李克时. 论英语谚语汉译的异化趋势[MA]. 南京:南京农业大学,2009.<br /> [10] 刘卫平. 文化视角下的美国谚语翻译[D]. 桂林:广西师范大学, 2008.<br /> [11] Li, H. A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University, 2012.<br /> [12] Mo, L, H. A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University, 2014.<br /> [13] Mao, Q. A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy, 2017.<br /> [14] You, X, J. A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University, 2009.<br /> [15] Zhao, C, H. A Study on Proverb Translation from Cross-Cultural Perspective[D].<br /> Changchun:Jilin University, 2012.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==<br /> &lt;center&gt;解帆 Xie Fan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ==='''Key words'''===<br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ==='''摘要'''===<br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ==='''关键词'''===<br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ==='''Introduction'''===<br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.<br /> <br /> 1.1 Classifications of Chinese Neologisms<br /> <br /> Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. <br /> <br /> 1.2 Characteristics of Chinese Neologisms<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. <br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.<br /> <br /> 2.1 Hornby’s Cross-cultural Translation Theory<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.<br /> <br /> 2.2 Significance of Cross-cultural Translation Theory<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.<br /> <br /> 2.2.1 Learning the Chinese Idiomatic Expression<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. <br /> <br /> 2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.<br /> <br /> 2.2.3 Conveying Emotion Expressed by Chinese Neologisms<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.<br /> The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. <br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.<br /> <br /> 3.1 Transliteration<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.<br /> <br /> Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. <br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. <br /> <br /> 3.2 Literal Translation<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.<br /> <br /> Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. <br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.<br /> <br /> Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.<br /> <br /> 3.3 Free Translation<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.<br /> <br /> Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.<br /> <br /> ==='''Conclusion'''===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. <br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.<br /> <br /> ==='''References'''===<br /> <br /> [1]Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> [2] Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> [3] Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> [4] Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> [5] Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [6] Pym. Translation and text transfer. 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Translation as a media plays a important role in cultural communication. A Bite of China, a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The essay discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. Combined with translation examples, we discuss three strategies for translating Chinese dish names.<br /> <br /> '''Keywords'''<br /> <br /> Chinese-English translation; Chinese dish names; functional equivalence<br /> <br /> '''摘要''' 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> '''关键词''' 中译英；中国菜名；功能对等<br /> <br /> '''I.Introduction'''<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the essay, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this essay. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.<br /> <br /> The essay takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we discuss the importance and significance of researches on Chinese-English translation of Chinese dish names. In the second part, we look back on functional equivalence theory and summarize current results on this topic. At the same time, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. The last part is to summarize what we have discussed before and to point out limitations of this essay. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission. <br /> <br />  <br /> '''II.Literature Review'''<br /> <br /> 2.1 Previous Studies on the C-E translation of Chinese Dish Names<br /> <br /> There are some scholars who have paved the way for our further researches. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others Zhang Tingli (2015) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. Li Weiwei (2017) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (2019) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (2015) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. Similiarly, Lee Yi Yan (2016) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series A Bite of China released in 2012. Under the guidance of their papers, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E transllation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the paper, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names.<br /> <br />  <br /> 2.2 Existing Problems<br /> <br /> <br /> 2.2.1 Problems in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. As Mo Chuanxia and Yue Lin (2020) mentioned in their essay, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication. <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners. The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings.<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. Beautifying function aesthetic beauty<br /> <br /> <br /> 2.2.2 Problems in Considering Different Cultural Backgrounds<br /> <br /> Culture-loaded Chinese dish names <br /> <br /> <br /> '''III.Functional Equivalence Theory'''<br /> <br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida, 1969). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida, 1993, p.127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. In the views of Christian Nord, the translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements (Nord, 2001). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon. Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi,2010: 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Yue Siwei, 2013: 61-68)<br /> <br />  <br /> '''IV. Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine'''<br /> <br /> <br /> 4.1 Princples of C-E translation of Chinese Cuisine<br /> <br /> 4.2 Strategies for C-E translation of Chinese Cuisine<br /> <br /> (1)Literal translation：<br /> <br />  <br /> (2)Transliteration<br /> <br />  <br /> (3)Free translation<br /> <br /> <br /> '''V. Conclusion'''<br /> <br /> What I discussed in the essay is only a panoramic view of Chinese dish names. There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct difference in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. <br />  <br /> Bibliography<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation 袁雨晨 Yuan Yuchen==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example 邬香 Wu Xiang==<br /> <br /> ===Abstract===<br /> <br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example, and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations, and promote cultural exchange and dissemination.<br /> <br /> ===Key words===<br /> <br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===摘要===<br /> <br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> <br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1.Introduction===<br /> <br /> After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many domestic scholars focus on specific translation methods and skills in the research on translation of dish names, and rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies (熊兵, 2014). Therefore, this chapter will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes.<br /> <br /> ===2.Exiting problems in English translation of Chinese dish names===<br /> <br /> Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards, and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. In the following, I will analyze in detail with examples.<br /> <br /> 2.1 The use of direct and rigid expressions<br /> <br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes, and even make people funny. For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty, a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fugus&quot;.<br /> <br /> 2.2 The lack of unified translation standards<br /> <br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translations of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sautéed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture.<br /> <br /> <br /> ===3.Translation strategies of domestication and foreignization ===<br /> <br /> ===4. Application of domestication and foreignization in English translation of Hunan cuisine===<br /> <br /> ===5. Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ='''Translation Studies'''=<br /> <br /> <br /> ==A Review and Reflection of Holmes and Toury’s Descriptive Translation Studies 曾雁湖 Zeng Yanhu==<br /> <br /> ==Foreignizing Tanslation and National Culture Development 邓锦霞 Deng Jinxia==<br /> <br /> ==='''Abstract'''===<br /> In the context of economic and social globalization, human civilization in the 20th century is developing towards diversification. In the process of multicultural exchanges, the impact of translation on local national culture has become a new topic of discussion. Foreignizing translation takes the source language as its destination and can retain the cultural characteristics of the source language to the greatest extent, which has gradually attracted the attention of contemporary translators. This chapter discusses the relationship between foreignizing translation and national culture from three perspectives: the necessity of foreignizing translation, the limitations of foreignizing translation and the influence of foreignizing translation on national culture.<br /> <br /> ==='''Key words'''===<br /> foreignizing translation; national culture<br /> <br /> ==='''摘要'''===<br /> 在经济与社会全球化发展的背景下，20世纪的人类文明正在向多元化发展。在多元文化交流的过程中，翻译作品对本土民族文化的影响成为新的讨论话题。异化翻译以源语言为归宿，能够最大限度地保留源语言文化特色，逐渐受到当代翻译家的重视。本文章从异化翻译的必要性，异化翻译的局限性以及异化翻译对民族文化的影响三个角度出发，讨论异化翻译与民族文化发展的关系。<br /> ==='''关键词'''===<br /> 异化翻译：民族文化<br /> <br /> ==='''1.Introduction'''===<br /> The debate between domesticating translation and foreignizing translation has a long history. When contemporary translators choose translation strategies, domesticating translation is the dominant one, for the translated text will be more easily accepted by the target language readers. Although this may attract more target language readers, in the translation process of &quot;domestication&quot;, we allow the source language culture to adapt to the target language culture, and even replace the source language culture with the target one. Such translations cannot truly achieve the purpose of cross-cultural communication and dissemination. As far as the quality of cultural production and transformation is concerned, this is likely to cause the development of the homogeneity of the cultures of various ethnic groups, and this does not conform to the general trend of cultural globalization, and is not conducive to maintaining the cultural uniqueness of various ethnic groups. A typical domesticated translation in Chinese-English translation is David Hawkes's translation of &quot;red&quot; in ''The Dream of the Red Chamber''. Considering the different understanding of red in Chinese and Western cultures, he translated &quot;怡红公子&quot; as &quot;green boy&quot;. Although this translation is conducive to the understanding of western readers, it also loses the cultural connotation of Chinese red. In the context of Chinese culture, &quot;red&quot; mostly symbolizes auspiciousness and joy. With such kind of domesticating translation, western readers can never really understand the real Chinese culture. Compared with domesticated translation, source-oriented foreignizing translation has better retention of the original text in terms of language and culture.<br /> <br /> ==='''2.The Evolution of Foreignizing Translation'''===<br /> The concept of foreignization translation in the West can be traced back to the word-for-word translation discussed by Cicero, Horace and St.Jerome in ancient Rome, which is the embryonic form of literal translation. The most famous translator in the early Middle Ages, Manlius Boethius, had a rich view of literal translation as (1) Content and style are hostile to each other, either paying attention to style or preserving content, neither can be achieved. (2) Translation is centered on objective things, and translators should give up subjective judgments. During the Renaissance, the famous German poet and translator Sebastian Brant substituted the concept of literal translation into poetry translation and proposed a verbatim translation method. In modern times, the dispute between literal translation and free translation has evolved into a dispute between the Old School and the New School. Bachet de Meziriae puts forward three principles that translators must follow: (1) Do not stuff the original text with private goods (2) Do not add or delete the original text (3) Do not make changes that are detrimental to the original intent. Translation critic Daniel Huet believes that the best translation method is for the translator to follow the original author's meaning ; if possible, follow his words closely, and finally reproduce his character as much as possible. Charles Batteux believes that the first translation rule is to preserve the original word order as much as possible.<br /> <br /> From a diachronic point of view, the concept of literal translation has become deeper and more specific, and its connotation has become more and more abundant. However, the concept of literal translation in this period still remained at the level of language meaning, content and formal style. The development in culture, poetics, society, ethics and ideology has gradually extended and developed literal translation, which is the basis of Western foreignizing translation ideas.<br /> <br /> Friedrich Schleiermacher put forward two very different translation methods in his famous speech entitled &quot;On Different Translation Methods&quot;: the translator should either keep the original author as still as possible and make the reader close to the original author; or let the reader as much as possible stay still and make the original author approach the reader. He advocated that the first translation method, the foreignizing translation method, is the real translation method, allowing readers to appreciate foreign customs and respecting language and cultural differences.<br /> <br /> Walter Benjamin's thought of foreignization is reflected in his view of language. He believes that all languages convey themselves in themselves, so language itself is translation. Benjamin emphasized the directness of language and intended to subvert the bourgeois instrumental language view. The translation goal of pure language makes Benjamin tend to use the foreignizing translation method, retaining the language form of the original text, that is, the difference in the way of meaning. In other words, Benjamin's foreignizing translation method is not to translate the meaning of the original text, but to convey the language expression of the original text to the target language. It is to achieve the ultimate goal of pure language human salvation.<br /> <br /> Antoine Berman puts forward the concept of &quot;translation ethics&quot; in the book &quot;The Test of Difference&quot; in response to the traditional translation thought centered on &quot;the transmission of meaning&quot; that has long dominated the western translation world. The translation ethics advocated by Berman is to respect the original work and respect the language and cultural differences in the original work. To this end, he advocates foreignizing translation, implements foreignizing translation through the translation strategy of translated text, enriches himself through the introduction of &quot;others&quot;, in order to achieve his goal of translation ethics.<br /> <br /> Although the idea of foreignizing translation has existed for a long time, the concept and terminology of &quot;foreignizing translation&quot; have not been promoted to the agenda of translation studies until 1995, when Lawrence Venuti published his famous book &quot;The Invisibility of the Translator-A History of Translation&quot;. Venuti’s concept of foreignizing translation puts traditional literal translation on the local cultural and political agenda, and links translation with culture, political ethics, and ideology. Its rich connotations can be summarized in the following five points: differences in material selection, language Differences with culture, readers and translation ethics. The core of Venuti's foreignizing translation is to practice differentiated ethical propositions to resist the mainstream values of the target language culture, thereby highlighting the language and cultural differences of foreign languages. In other words, Venuti’s translation ethics emphasizes the absorption and acceptance of the “other” as the “other”. On the one hand, it respects the language and cultural differences of the foreign other, and on the other hand, it can be used to challenge the culture of the target language. Mainstream values<br /> <br /> ==='''3.The Necessity of Foreignizing Translation '''===<br /> Translation circles have different definitions of foreignizing translation, but generally believe that foreignizing translation is a translation strategy that preserves the characteristics of the source language, which will help readers get closer to the author. Although the background and purpose of different theorists’ perspectives on foreignizing translation are different, we should uphold the attitude of foreignizing translation as a translation strategy, and treat the role of foreignizing translation in the development of national culture objectively.<br /> <br /> ===='''3.1.The Need of Language Development'''====<br /> As the carrier of culture, language has never been self-sufficient and isolated from external factors. On the contrary, it is an open system with strong tolerance and attractiveness. With the deepening of exchanges among countries and ethnic groups, various languages are now enriched in varying degrees. The foreignizing translation played a very important role in this process. The change of language is firstly reflected at the lexical level. Some vocabulary did not exist in the target country, but through the translator's foreignizing translation, a large number of words with foreign cultural customs were gradually accepted by people. And it can be widely disseminated and used in popular culture. For example: &quot;honeymoon&quot; (蜜月), this word had no corresponding expression in Chinese at the time, and its meaning (the first month of the wedding) did not exist in Chinese at that time. It was Lin Shu's method of alienation. The two parts of the compound word are translated and arranged together according to their literal meanings (honey &quot;蜜&quot;, moon &quot;月&quot;) to form the word &quot;蜜月&quot;. This undoubtedly injected fresh blood into Chinese at that time and developed modern Chinese. There are also many other words, such as &quot;咖啡（coffee）&quot;, &quot;丁克（DINK）&quot;, and &quot;可乐（cola）&quot;, which have been understood and accepted by Chinese readers. Words such as &quot;Jiaozi(饺子）&quot;, &quot;tofu（豆腐）&quot;, &quot;Kungfu（功夫）&quot; originated from Chinese have also entered the English thesaurus and have become part of the English family. The inclusiveness of language is evident. Once these foreign words are accepted by the society，they are established by convention and become new members when they are added to the traditional language and culture. As a result, they will inevitably enrich the way of language expression, promote language proximity and communication, and enhance the vitality of language. In a sense, the process of language development is also a process of language alienation. The alienation of language is the general trend, and it cannot be blocked by manpower. The translator's use of foreignizing method actually follows the universal law of language development.<br /> <br /> The influence of foreignizing translation is not limited to the lexical level, but also to the syntactic level (Wang Kefei, 2002:458). When Liang Qichao investigated the translation of Buddhist scriptures, he discussed a dozen of foriegnizing translation of syntaxes. Facts have proved that the foreignized syntax of these Buddhist translations took root in Chinese with the widespread spread of Buddhism and became the origin of the Chinese vernacular. Modern Chinese is also influenced by Western languages, and the frequency and scope of passive voice use have expanded. Passive form was used as early as in ancient Chinese, but it is rare, and it is generally used to express misfortune or unpleasant experience. Affected by the translation of Western languages, the passive form in modern Chinese can also express pleasant things. It means that the syntax of source language in foreignizing translation can be accepted as a part of the target language.<br /> <br /> It can be seen that the use of foreignization translation method can enrich and expand the vocabulary and syntax of the target language, which is beneficial to the maturity and perfection of the target language. Around the 19th century, when German romantic writers and translators were translating foreign works, they paid great attention to absorbing some vocabulary and special expressions from foreign literary works to enrich the German language. In their view, the development of German is not yet perfect, and it is necessary to enrich and expand the German language through translation. Under the guidance of this kind of thinking, they showed great importance to the language form of the original text.<br /> <br /> In China, Mr. Lu Xun has always advocated foreignization translation for the purpose of importing new expressions to develop vernacular Chinese. &quot;Chinese are too imprecise...To solve this problem, I thought I had to endure a little bitterness one after another and put in strange, ancient, foreign syntax. Then we could take it as ourselves.&quot; (Chen Fukang, 1992:298). In the fifteen or sixteen years after the May Fourth Movement, many writers and translators consciously adopted the foreignization translation method under the advocacy of Lu Xun, Qu Qiubai and others. Their works not only absorbed a large number of Western vocabulary, but also used some syntactic structures of Western languages, which gradually overcomed the lack of vocabulary and thin sentence structure of ancient Chinese, and promoted the final development and maturity of the vernacular.<br /> <br /> ===='''3.2.The Need of Culture Communication'''====<br /> Each country and nation has its own unique culture, which all have contributed to the development of world civilization. The prosperity and development of world culture depends more on the further development of these cultures in their own fields rather than extinction. The existence of translation problems actually defaults to the existence of cultural diversity. If there is only one language and one culture in the world, there will naturally be no translation problems.<br /> <br /> Lu Xun advocated foreignizing translation, believing that it can import new content and new expressions. The French philosopher Derrida believes that &quot;translation is to play with similarities and differences in endless analysis.&quot; Through translation, we can achieve a deeper and more accurate understanding of the differences between cultures and the specific expressions of various ethnic languages.<br /> <br /> In the process of cultural input, foreignizing translation is essential if we want to understand the most authentic and essential source language culture. Correct cultural cognition is a prerequisite for cultural exchange. For example, most Westerners believe in Christianity, and they believe that God is the only savior of the world. Westerners' ideology, value system, religious beliefs, ethics, and even behaviors and behaviors are all derived from Christian culture. As the carrier of culture, language is also influenced by religious culture. For this kind of proverb, if you blindly adopt the domestication translation method, translate &quot;God help those who help themselves&quot; as &quot;自助者天助&quot;, and translate &quot;The mills of God grind slowly but sure&quot; as &quot;天网恢恢 疏而不漏&quot;. Then, for most Chinese readers, they may never understand the true religious culture of the West.<br /> <br /> Goethe pointed out that everything has a beginning, and readers will eventually become accustomed to it. In short, readers' approval should be viewed from the perspective of development, not confined to temporary choices. This is the only way to multiculturalism. When the phrase &quot;Praise is not pudding&quot; is translated into &quot;赞美不能当饭吃&quot;, it is certainly conducive to readers' understanding. But the cultural connotation of pudding for Westerners is completely concealed. The translation of &quot;赞美不能当布丁吃&quot; highlights the importance of pudding in the translation. Another example is the proverb &quot;Unkissed, unkind&quot;. If it is translated as &quot;不作揖，不友善&quot; by using domesticating translation method, although such a translation fully conforms to the thinking and habits of the Chinese people, it also causes a lack of the original culture. Therefore, using foreignizing translation method, &quot;不亲吻，不友善&quot; can make readers understand the difference between Western etiquette and Chinese, and will not cause obstacles in cultural exchanges.<br /> <br /> ==='''The Limitations of Foreignizing Translation'''===<br /> <br /> ==='''The Influence of Foreignizing Translation'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Work Cited'''===<br /> <br /> == Analysis on the Key problems in Chinese-English Translation and Corresponding Solutions ----- Based on Contrastive English-Chinese Studies and Chinese-English Translation 姜好 Jiang Hao==<br /> <br /> ==A Comparative Study of Chinese Versions of ''Uncle Tom’s Cabin'': From the Perspective of Hermeneutics 管钦清 Guan Qinqing==<br /> <br /> ===解释学视角下''Uncle Tom’s Cabin''译本的对比研究===<br /> <br /> ===ABSTRACT===<br /> <br /> Hermeneutics is a discipline that studies understanding and interpretation, and its development is inseparable from translation. Both literary translation and non-literary <br /> translation are inseparable from the understanding and interpretation of the original text. The nature of translation determines that the relationship between hermeneutic <br /> theory and translation studies is extremely close. This article is guided by Gadamer's hermeneutics. Based on the core concepts of historical understanding, prejudice, and <br /> fusion of horizons, this article will discuss how these related factors, such as historical ideology, translator's attitude, language fusion, cultural filtering, and <br /> translator's subjectivity, work and embody in the Chinese versions of Uncle Tom's cabin. This article first explains Gadamer's hermeneutics. Then the author and translator <br /> of ''Uncle Tom’s Cabin'' are introduced. Under the guidance of the above theory, the different translation strategies adopted by different Chinese versions and their reasons are analyzed from different perspectives. Through the above analysis, I draw some inspiration from it: the existence of multiple translation versions and the retranslation of literary works are reasonable. Translation works from different historical contexts can reflect the spirit of a particular era. And hermeneutics can provide reasonable explanations for some translation phenomena that are influenced and determined by the context of social culture and history, and it is very suitable for studying translation works that appeared in different periods.<br /> <br /> ===Key words: Hermeneutics; ''Uncle Tom’s Cabin''; historicity of understanding; fusion of horizons; effective history===<br /> <br /> ===摘 要===<br /> <br /> 解释学是一门研究理解和解释的学科，其发展与翻译密不可分。无论是文学翻译还是非文学翻译，都离不开原文的理解和解释，翻译的这种性质决定了解释学理论与翻译研究之间的关系是极其密<br /> 切的。本文主要是从伽达默尔的解释学角度出发，根据理解的历史性、偏见和视域融合这几个核心概念，论述历史意识形态、译者态度、语言融合、文化过滤以及译者主体性等相关因素在斯托夫<br /> 人的''Uncle Tom’s Cabin''中译本中的体现及作用。本文首先对伽达默尔的解释学进行了阐述。随后介绍了''Uncle Tom’s Cabin''的原文作者以及译者，并在以上理论基础的指导下，从不同的角度对<br /> 译本所采取的不同的翻译策略及其原因进行了分析。通过以上分析，笔者从中得出启示：多个译本同时存在以及文学名著重译现象的存在是合理的。产生于不同历史环境的译作，能够反映特定的<br /> 时代精神。而解释学能为一些由社会文化历史语境影响和决定的翻译现象提供合理的解释，并且十分适用于研究不同时期出现的译作。<br /> <br /> ===关键词：解释学；''Uncle Tom’s Cabin''；理解的历史性；视域融合；效果历史===<br /> <br /> ===Introduction===<br /> <br /> ''Uncle Tom’s Cabin'' is a novel against slavery published by American writer Harriet Beecher Stowe in 1852. The novel's views on African-Americans and American slavery have had far-reaching influences, and to some extent intensified local conflicts that led to the American Civil War. The novel was the best-selling novel of the 19th century (and the second best-selling book, second only to the best-selling book, the Bible), and was considered a major reason for the rise of abolitionism in the 1850s. In the first year of its publication, it sold 300,000 copies in the United States. The impact of Uncle Tom’s Cabin on American society was so great that during the early days of the Civil War, when Lincoln met Mrs. Stowe, he said, &quot;You are the little woman who caused a great war.&quot;<br /> <br /> The influence of ''Uncle Tom’s Cabin'' on the Chinese translation industry is self-evident. As the first American novel was translated into Chinese, this novel first appeared in China in the form of classical Chinese in 1901. Its name was《黑奴吁天录》 and translated by translators Lin Shu and Wei Yi. After the publication of《黑奴吁天录》, it caused a strong response from readers and caused a certain impact on the consciousness of Chinese readers. The second version of Uncle Tom’s Cabin in China was translated by Mr. Huang Jizhong, entitled 《汤姆大伯的小屋》 and published in 1982. A major feature of Huang Jizhong's ''Uncle Tom's Cabin'' was its fidelity to the original text. The translation was very popular once it was launched. 59,000 copies were printed in the first edition, and another 30,000 copies were soon printed, all sold out. These two translation works had different production time and different translation methods, but they both enduring have many readers. Why can a foreign novel be retranslated many times in China, and all kinds of completely different translation works can enjoy their respective reputations, and have been sought after by readers of <br /> different times? Why these two very different translation methods so successful? The above issues aroused my attention.<br /> <br /> Hermeneutics is a philosophical theory that explains and understands text. For the first time in the 20th century, translation theorist George Steiner put translation into <br /> hermeneutics and pointed out that language is constantly changing. With the continuous development of hermeneutics, the German philosopher Gadamer established a systematic <br /> philosophical hermeneutics and put forward the three principles of &quot;history of understanding&quot;, &quot;fusion of horizons&quot;, and &quot;history of effects&quot; in his works. These three <br /> principles can be used to explain many translation phenomena and translation theories in the history of Chinese and foreign translation, and have high reference value. In <br /> view of this, the author decided to use Gadamer's hermeneutics as a theoretical guide. Focusing on the analysis of the two versions of ''Uncle Tom's Cabin'', I will research and discuss the issues raised above, and draw inspiration from them to provide a way for literary translation.<br /> <br /> ===1.Literature Review===<br /> <br /> This chapter will give a brief introduction to hermeneutics from three aspects: the development of hermeneutics, Gadamer's Philosophical Hermeneutics, and Hermeneutics' <br /> Guide to Translation Studies.<br /> <br /> ====1.1. Development of Hermeneutics==== <br /> <br /> Hermeneutics has a profound historical origin and is an ancient and well-established science. Traditional hermeneutics is not a specific philosophical school, but a <br /> philosophical theory of meaning, understanding, and interpretation. Its history can be traced back to ancient Greece. The term Hemeneutics is the name of Hemes, the <br /> messenger of the Greek gods. He accepted the will of Zeus and explained it to human beings, and also passed on the human claims to Zeus and the gods. The core of <br /> hermeneutics is the &quot;interpretation&quot; of problem. The academic community generally believes that hermeneutics can be divided into three stages: classical hermeneutics, <br /> modern hermeneutics and philosophical hermeneutics（郑立平，易新奇，2015：101-104）.<br /> <br /> The core of classical hermeneutics is theological hermeneutics, which mainly involves the translation and understanding of the Bible. As a translator, the interpreter must <br /> explain the ambiguous and vague words that appear in the Bible. Therefore, classical hermeneutics is mainly a technique to convert hidden divinity into a language <br /> understandable to ordinary people, which mainly serves the spread of religion and promotes the promotion of the Bible and its teachings. With the continuous secularization <br /> of religious classics, hermeneutics has evolved from a single interpretation of the Bible into an interpretation of classic literary works. After the introduction of <br /> literary research, it gradually became a research method that pursued objectivity and tried to get rid of subjective will. Both F. Schleier-macher and W. Dilthey were <br /> deeply influenced by this methodological consciousness, and continuously promoted the development of hermeneutics, making hermeneutics a subject of interpretive methods.<br /> Modern hermeneutics began at the end of the 19th century, and its representative was Dilthey. Dilthey put forward the hermeneutics of &quot;historical rational critique&quot;, concerned about how the hermeneutics in a specific historical context can objectively understand other historical performances. Hermeneutics is no longer considered as an inquiry into the author's psychological intentions, but rather as an interpretation of the world of existence shown in the text.<br /> <br /> Philosophical hermeneutics, represented by German philosophers Heidegger and Gadamer, is a fundamental change in hermeneutics. They changed the ontology of philosophical hermeneutics, so they are called philosophical hermeneutics. “Unlike previous practical philosophy, this type of hermeneutics as a dual task of theory and practice lies in restoring Aristotle's concept of practical wisdom” (洪汉鼎，2010:459).And this article uses Gadamer's philosophical hermeneutics as a theoretical guide to analyze the translation.<br /> <br /> ====1.2. Gadamer's Philosophical Hermeneutics====<br /> <br /> Gadamer always believed that the term &quot;Hermeneutics&quot; came from Hermes &quot;Hermes&quot;, one of the twelve main gods of ancient Greece, so he believed that the interpretation must include the acceptance and performance of the recipient, that is, understanding and explaining. On the basis of inheriting Heidegger's thought, Gadamer deepened his thought of understanding. He further developed hermeneutics into philosophical hermeneutics, and pushed hermeneutics to prosperity. Gadamer opposed the hermeneutics that stood before him in an objective position. He believed that understanding is not an act of reproduction, but should be an act of creation. He believed that the author's &quot;intent&quot; does not exist, and the search for the author's &quot;intent&quot; is also futile. <br /> <br /> As mentioned earlier, Gadamer's hermeneutics has three main principles: historicity of understanding, fusion of horizons, and history of effects. From the &quot;historicity of understanding&quot;, Gadamer believed that understanding is historical, and the history of understanding constitutes the bias of understanding, which determines the creativity and generation of understanding. Gadamer believed that the historicity of understanding will inevitably lead to prejudice, but the existence of such prejudice is reasonable. The second is the principle of horizon fusion. Gadamer believed that understanding is the way of existence of history, so both the subject and the object of understanding are the existence of history, and both have their own horizons. In the process of understanding, the translator should be as close as possible to the original horizon of the original author to achieve a fusion of horizons. The last principle is effect history. The effect history principle emphasizes understanding the work from the effect history of the work, which closely links history with the present and fully affirms the significance of ancient texts to contemporary society. Understanding Gadamer's history of effects helps us understand the need to retranslate a classic. These three principles of Gadamer provided an important theoretical basis for us to understand and explain some long-running issues in translation theory and translation practice.<br /> <br /> ====1.3. Hermeneutics' Guide to Translation Studies====<br /> <br /> As mentioned earlier, literary translation and hermeneutical theory are inseparable. Essentially, literary translation is an art of understanding and expressing meaning. It is a process of re-creation through interpretation. At present, hermeneutics is recognized as a valid theory for translation studies. Translation studies based on hermeneutics have broken the traditional inherent understanding of traditional translation theory on some issues, and raised questions and challenges to traditional translation theory. Among them, the guidance of hermeneutics on translation studies is mainly reflected in the following aspects.<br /> <br /> First: the historical nature of understanding explained the misreading phenomenon. The historical nature of understanding means that the specific historical environment, historical status, and historical conditions of the translator are different from the object of understanding. Readers always have historical prejudice in the process of understanding the original text, because they cannot transcend historical space and time to objectively understand the original text. Hermeneutics' re-understanding and definition of this prejudice also provides a philosophical basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. Gadamer believed that there is no so-called normative interpretation of a text（章启群，2002:77）. And this prejudice is a positive factor formed in history and tradition. Scholars should treat this existence correctly and should not regard it as a part that should be eliminated.<br /> <br /> Second: The principle of fusion of horizons explains the phenomenon of cultural filtering. The principle of horizon fusion theoretically confirms the historical roots of cultural filtering phenomenon in translation and the inevitable existence of cultural filtering phenomenon. Although the translator should strive to approach the original vision of the original author and understand the author's original intention, in fact, the translator always inevitably brings the world he is familiar with into the strange world of the original text.<br /> <br /> Third：The principle of effective history explains the multiple translation versions of famous works. Gadamer believed that the text is open and its meaning is never endless. The text goes beyond the historical era in which it was created. This provides the possibility for people of different ages to understand the same text differently. Human beings are constantly developing. In the process of development, they constantly surpass themselves, renew their history, and rethink themselves and their culture. This provides a reasonable explanation for the phenomenon of retranslation of famous works.<br /> <br /> ===2.A Brief Introduction of the Original Author and Two Translators===<br /> <br /> This chapter will give a brief introduction to the original author and two translators to strengthen your understanding of the background of the original text and the two translation versions.<br /> <br /> ====2.1. Harriet Beecher Stowe====<br /> <br /> Harriet Beecher Stowe is an American writer. She was born on June 14, 1811 in a well-known pastor family in North America, and died in 1896. The American Civil War was fought in the 1860s. But since the 1920s, the issue of abolition of slaves has become a central issue in American progressive opinion. At that time, many famous American writers were on the side of abolishing slaves, calling for the liberation of slaves. Mrs. Stowe was one of the most outstanding among these slave writers. <br /> <br /> Mrs. Stowe has been influenced by theology since she was a child, and she has spent her entire life in a religious atmosphere. When Mrs. Stowe was fourteen, their entire family has moved to Boston and has moved to Cincinnati a few years later. At the time, the outskirts of Cincinnati were dotted with large serf farms. It was one of the centers of the abolitionist movement in North America then, and heated speeches against slavery were often heard in urban areas. Mrs. Stowe had fugitive slaves in her home, which gave her the opportunity to hear the tragic experience of fugitive slaves. After that, Mrs. Stowe got another chance to visit several plantations in Maysville, Kentucky with her friends, and witnessed the tragic situation of slaves. Those plantations were the prototype of the Shelby plantation in ''Uncle Tom's Cabin''. This novel extensively describes the brutal oppression and exploitation of slaves by slave owners throughout the southern United States, and portrays the cruelty of slaves in various forms. The novel also describes different types of slave images. Once Uncle Tom's cabin came out, it attracted great attention and response at home and abroad. When the former President of the United States Lincoln met Mrs. Stowe, he jokingly called her “a little woman who brought a war&quot;. This joke also fully reflects the huge influence of Uncle Tom's cabin.<br /> <br /> ====2.2. Lin Shu====<br /> <br /> Lin Shu, a famous writer and translator in modern China, has made outstanding contributions to the translation of Chinese literature. Lin Shu had a profound and solid knowledge of ancient writing. But he did not understand foreign languages, and his translations were all done in cooperation with others. In cooperation with others, Lin Shu has translated 246 works involving 107 writers in 11 countries, and made indelible contributions to the introduction of Western literature. ''Uncle Tom's Cabin'' was Lin Shu's second translation work, and it was also a popular work translated at the peak of his translation career. This translation work can reflect Lin Shu's translation technique and his characteristics.<br /> <br /> At that time, China was facing aggression by the Allied Forces of the Eight Kingdoms, and the Qing government signed the Peace Protocol of 1901. In this context, Lin Shu's enthusiasm for anti-imperialist and national salvation was stirred. He wanted to translate some works that can open up people's wisdom and inspire them. So Lin Shu and Wei Yi co-translated Mrs. Stowe's ''Uncle Tom's Cabin''. Both of them had a strong sense of political mission in translating this work. After the publication of 《黑奴吁天录》, it caused a great response among the readers at that time. Translator Lin Shu ’s anti-imperialist thoughts in his translation work resonate emotionally with readers, directly stimulating readers’ anti-imperialist consciousness. In the treatment of the original works, Lin Shu made conscious cuts. Most of the unfaithful parts of his translations have adopted translation strategies of amplification and omission. From the perspective of traditional linguistic translation theories, Lin Shu may not be a successful translator. But from the perspective of hermeneutics and culture, the existence of Lin Shu's translation method is reasonable.《黑奴吁天录》was Lin Shu's representative translation, which can fully reflect Lin Shu's translation style. Far from Lin Shu's translation style was Huang Jizhong's Unc《汤姆大伯的小屋》，and I will elaborate on the translator Huang Jizhong below.<br /> <br /> ====2.3. Huang Jizhong====<br /> <br /> Huang Jizhong was born on September 28, 1923 in a literary family in Ji'an, Jiangxi. He lost his father in his early years, and he followed his grandfather studying in Shanghai since childhood. He is good at Chinese and English and loves literary translation. In addition to teaching related courses, he has devoted himself to the translation of famous books for many years. As early as 1956, Huang Jizhong accepted the invitation of Shanghai Literature and Art Publishing House to translate ''Uncle Tom's Cabin''. His original plan was to complete the translation work in two years, but due to external shocks, it could not be published as scheduled. Later, this novel was retranslated in 1982 and published by Shanghai Translation Publishing House. Once this edition of Uncle Tom's Cabin was published, it was warmly welcomed by readers. A major feature of Huang Jizhong's《汤姆大伯的小屋》 was its faithfulness to the original text, and another feature was the use of translation method of foreignization. The translation style of ''Uncle Tom's Cabin'' in Huang Jizhong's version was very different from Lin Shu's version, which was of great research value. Therefore, I chose the translated versions of Huang Jizhong and Lin Shu for comparative research.<br /> <br /> ===3. A Comparison of Two Chinese Versions from Gadamer's Hermeneutics===<br /> <br /> The professor of Poetics and Comparative Literature Gideon Toury once said that translation is inevitably involves at least two languages and two cultural traditions (Toury, 2001:56). Professor Chen Hongwei of China also said that translation involves not only language conversion, but also cultural translation（陈宏薇，2004：24）. Therefore, in the following chapter, the two translation works will be analyzed from a cultural and linguistic perspective.<br /> <br /> ====3.1. Comparative Analysis from a Linguistic Perspective====<br /> <br /> The two translators use different languages because they are in different eras. Lin Shu used classical Chinese, while Huang Jizhong used vernacular Chinese. Then they must have many differences in translation. Next, under the guidance of hermeneutics, we will analyze the differences between the two translation works from a linguistic perspective in three aspects.<br /> <br /> =====3.1.1. Contrastive Discourse Analysis=====<br /> <br /> Since the two translators come from different historical times, the translation methods adopted by the two translators are also different. In terms of translation methods, Lin Shu adopted intercompilation while Huang Jizhong adopted complete translation. Examples are as follows:<br /> <br /> 1. “Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.”(Stowe, 2011:3)<br /> <br /> 林译：语至此，门辟，陡入一稚子，约四五岁，貌绝慧黠，雏发未燥，笑处辄动微涡，两目精光耿然。见海留，意殊骇。海留见其服饰之善，心知此奴必为主人主妇所厚昵者。(林纾&amp;魏易，1981：4)<br /> <br /> 黄译：正在这当儿，房门开了。一个四、五岁左右的第二代混血男孩走了进来。这孩子相貌长得分外清秀，特别逗人喜爱。圆圆的脸蛋上有一对酒窝，头上覆盖着一圈圈光滑、鬈曲、细如绢丝的黑头发；一双又大又黑、柔和而炯炯有光的眼睛，从两道浓浓的长睫毛下面好奇地向屋内张望着。他身穿一件黄格子花呢的罩衫；手工精制，剪裁合身，越发衬托出这孩子黝黑、浓郁的俊秀劲儿；那种悠然自得、滑稽有趣而又略带羞涩的神态，表明他惯常得到东家的青睐和宠爱。（黄继忠，1993:3）<br /> <br /> This paragraph comes from the first chapter of ''Uncle Tom’s Cabin'', where the original book vividly describes the cute image of the son of the slave Eliza who owned by Shelby. Comparing the two translations, Lin Shu's translation is in classical Chinese, and in his character description, Lin Shu used a compilation method，omitting many details. However, Huang Jizhong's translation is in vernacular form, and every detail of the original text has been translated in detail by Huang Jizhong. The original text of this paragraph consists of 122 words. Lin Shu's translation is only 62 words, while Huang Jizhong's translation is as many as 183 words. Before the New Culture Movement in the late Qing Dynasty, vernacular Chinese were not welcomed by literati and intellectuals, let alone let them write or translate in vernacular Chinese. The specific society in which Lin Shu lived formed his inherent horizon, which also determined his choice to translate in classical Chinese. In the era of Huang Jizhong, vernacular Chinese have been popular throughout the country, and have become popular in all classes. Therefore, Huang Jizhong must also translate in vernacular texts.<br /> According to hermeneutics, translating a work is a process in which the translator brings his own specific horizon into the historical horizon of the text. It is not a process of letting the interpreter abandon his own horizon, nor is it a horizon replacement. In this example, two translators both are in their own specific field of horizon and try to merge with the field of horizon of the original author, resulting in different translated texts. Gadamer's view of the fusion of the two horizons, to a certain extent, shows the essence of translation, especially literary translation. (谢天振，2000：204) &quot;Fusion of Horizons &quot; overcomes the time gap and historical gap between the text and the interpreter, and the infinite process of understanding and discovery of text meaning is also achieved through &quot; Fusion of Horizons &quot;.<br /> <br /> =====3.1.2. Contrastive Study of Lexicon=====<br /> <br /> Literary translation is an aesthetic re-creation process that is completed through interpretation, that is, the process of including the translator's acceptance and release of information. Lin Shu was proficient in Chinese, and he regarded translation as a creative process. Therefore, in the process of releasing the information, he incorporated his own opinions and adopted the translation strategies of amplification and revision. However, Huang Jizhong's horizon is different from Lin Shu's, so his method of receiving and releasing information was also different. For examples:<br /> <br /> 2. “I’m sorry to say that I am,” said Mr. Shelby. “I’ve agreed to sell Tom” (Stowe, 2011:44)<br /> <br /> 林译：解而培忸怩久之，曰：“吾已署券卖汤姆矣！” (林纾&amp;魏易，1981：14)<br /> <br /> 黄译：“很抱歉，”谢尔贝先生答道，“我已经答应把汤姆卖给他了。” （黄继忠，1993:30）<br /> <br /> This example is from Chapter 5 of the original text. In this case, Lin Shu added the word &quot;忸怩久之&quot;, showing Shelby's entangled heart and the fear of her wife's blame. Looking back at the original text, there is no word in the original text that can express the meaning of &quot;忸怩&quot;. However, Huang Jizhong was faithful to the original text here, and didn’t add or subtract words from the original text. In Gadamer's hermeneutic theory, there is the concept of &quot;pre-understanding&quot;. Pre-understanding refers to the fact that people are influenced by the specific historical environment, historical conditions, historical status, etc. they are in when they understand texts or recognize things. People always carry certain subjective consciousness elements such as emotion, knowledge, and will when they observe and recognize external things. The word &quot;忸怩&quot; added by Lin Shu here embodies the concept of &quot;pre-understanding&quot;，and shows that Lin Shu brought his emotions into his translation work.It's“Rather, we stand always within tradition, and this is no objectifying process, ie we do not conceive of what tradition says as something other, something alien. It is always part of us, a model or exemplar, a recognition of ourselves which our later historical judgment would hardly see as a kind of knowledge, but as the simplest preservation of tradition.” (Gadamer H, 1999:250) Gadamer believes that every interpretation is based on a pre-existing basis. In order to understand something, we must first have it. We cannot understand something that is not part of our overall world. Our understanding of things is based on our own existing knowledge system. That is, we rely on our existing knowledge and experience to understand and explain phenomena and things. Therefore, translators must have their own &quot;pre-understanding&quot; in the process of understanding and translating the source text.<br /> <br /> 3. But real gentlemen, such as I hopes you’ll be, never let fall no words that isn’t respectful to their parents. (Stowe, 2011:132)<br /> <br /> 林译:盖极望吾小主为一代伟人,万勿肆口出言,以逢二亲之怒。(林纾&amp;魏易，1981：45)<br /> <br /> 黄译:我希望你将来做个正人君子,而一个正人君子是决不会说一句不尊敬父母的话的。（黄继忠，1993:94）<br /> <br /> When Uncle Tom said goodbye to his little master George, he expressed his expectations for the little master ---- be a real gentleman. Lin Shu translated this as &quot;一代伟人&quot;, thereby expressing his strong desire to change the status quo. Huang Jizhong translated it as &quot;正人君子&quot;. &quot;正人君子&quot; used to refer to people with good conduct. It was the ultimate goal of ancient China and had a profound influence in Chinese history. Lin Yupeng, a translator born after the two translators, translated this as &quot;真正的绅士&quot;. It can be seen from this that translators in different eras are very different in the translation of the same word due to the influence of the era at that time. In addition, there are some examples in the text, such as &quot;married&quot; and &quot;my wife&quot; were translated by two translators as &quot;出阁&quot;, &quot;结婚&quot; and &quot;吾妻&quot;, &quot;内人&quot; respectively. These are the two concepts of hermeneutics---&quot;effective history&quot; and &quot;pre-understanding&quot;. The so-called effect history means that history produces effects by restricting our historical understanding. Here, the translation of the same text by the two translators is consistent with their own social and historical environment. The social environment and social development of the era in which the two translators lived both affected and restricted the two translators' understanding of the original text.<br /> During the translation process, the translator will let his pre-understanding and experience come into play, thus forming different understanding and expression of the same text. Because of this, there will be different versions of the same literary work in the same era, and different versions of the same literary work will appear in different times. Therefore, the co-existence of the two versions of Uncle Tom's cabin in completely different styles is reasonable from the point of view of Gadamer's hermeneutics. Similarly, the retranslation of other literary texts and the existence of multiple versions of translation works are also reasonable.<br /> <br /> =====3.1.3. Contrastive Study of Syntax=====<br /> <br /> 4.“But why, of all others, choose these?” said Mrs. Shelby. “Why sell them, of all on the place, if you must sell at all.” (Stowe, 2011:44)<br /> <br /> 林译：爱密柳曰：“君既欲卖，胡不再谋，而必卖此二人？尔知汤姆为极忠挚义之人,小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” (林纾&amp;魏易，1981：14)<br /> <br /> 黄译：“可是为什么偏偏要挑这两个呢？”谢尔贝太太问道：“即使非买不可，在园上这么些黑人，为什么一定要卖他们呢？” （黄继忠，1993:30）<br /> <br /> In this example, Lin Shu added “尔知汤姆为极忠挚义之人，小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” to express the anger of Shelby's wife and her extreme disapproval of Shelby's behavior. On the whole, Lin Shu adopted the strategy of free translation here, while Huang Jizhong's translation was quite consistent with the original text, using the strategy of literal translation.<br /> <br /> According to Gadamer's hermeneutics, as special readers, translators selectively accept textual information due to historical factors of their own understanding ，and incorporate their own aesthetic concepts into their translation works. Therefore, their translation methods will also be different. The interpretation of artistic works is closely related to the translator's understanding and expression of the source text in the translation process. “Translation is a dynamic process from understanding to expression, and the master of this process is the translator.” ( 柳晓辉, 2010: 125 )Translators cross the barriers of different languages and cultures and build a bridge between the source language and the target text. However, as Gadamer emphasizes, the text is open to all ages and enters into the field of meaning of the understander, so the translator's interpretation will inevitably conflict with the objective existence. To this end, translators must play an active and subjective role and adopt different strategies for selection and adaptation. Here, Lin Shu integrated his own aesthetic concepts into his translation work and exerted his own subjectivity, thus forming a different translation version from Huang Jizhong. This also further reveals that the interpretation of text in the translation process from the perspective of hermeneutics can reveal the process and mechanism of translator's understanding of text in translation activities.<br /> <br /> 5. …and the arrangements of the house, and the general air of the housekeeping, indicated easy, and even opulent circumstances. (Stowe, 2011: 2)<br /> <br /> 林纾：其一人文秀，家亦少康，名解而培。(林纾&amp;魏易，1981：3)<br /> <br /> 黄继忠：跟他一起谈话的那位谢尔贝先生倒是个绅士模样的人；屋子里的陈设和气派都说明此人家道小康，甚至可以说得上颇为富裕。（黄继忠，1993:1）<br /> <br /> This example comes from the first chapter of the novel. At the beginning of the article, the author introduces the characters of the novel. Comparing the translations of the two translators, we can see that Lin Shu's translation should be more concise and refined. The original author's description of the environment has been deleted in Lin Shu's translation. It may be that the translator believed that this was not important for the development of the novel. This long sentence of the original text was simplified by Lin Shu to four words &quot;家亦少康&quot;, while the translation version of Huang Jizhong almost matched the original content. In the translation of this sentence, the translation methods adopted by the two translators are also completely different.<br /> <br /> In the field of translation, people often liken translators to shackled dancers. This metaphor vividly describes that while the translator is restricted by the original author and the original text during the translation process, he must use his subjective initiative to reshape the work. Traditional translation theory values the author and the original text, treats the original as authority, and treats &quot;faithfulness&quot; as the highest standard of translation. Hermeneutics redefines the &quot;prejudice&quot; caused by the historicity of understanding, and provides an effective basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. In the above two examples, the two translators, while being influenced by the historical society in which they are located, also gave full play to their subjectivity, especially Lin Shu. This also tells us that the translator's subjectivity plays an important role in literary translation.<br /> <br /> ====3.2. Comparative Analysis from A Cultural Perspective====<br /> <br /> British anthropologist Taylor believes that culture is &quot;a complex whole including knowledge, beliefs, arts, morals, laws, customs, and other abilities and habits learned by people as members of society&quot;.(Hebding&amp;Glick,1992：37) Language is the carrier of culture. A text is generated from a specific cultural context, and it must also include the characteristics of the culture. When translators translate one text into another language，the translator must bring the characteristics of his own culture when reading and interpreting the source text because the translator's language and culture are different from the original author's culture.<br /> <br /> =====3.2.1. Analysis from A Religious Perspective=====<br /> <br /> A major feature of Uncle Tom’s Cabin is that it contains a lot of religious elements. In translating this religious content, the two translators took radically different approaches. That is, Lin Shu's selective translation of religious content, most of which is carried over or not translated directly. However, Huang Jizhong conveyed the Western religious intentions to his readers at that time. For example:<br /> <br /> 6. “…, but I didn’t think any Christian legislature would pass it！” (Stowe, 2011: 95)<br /> <br /> 林纾：吾思文明之国，法当不如此。 (林纾&amp;魏易，1981：34)<br /> <br /> 黄继忠：但是我相信任何一个基督教国家的立法机关都不会通过这种法令的。（黄继忠，1993:72）<br /> <br /> In the above example, &quot;Christian&quot; is an exact word for Christ. In the translations of the two translators, Lin Shu chose to omit it, while Huang Jizhong chose the method of literal translation. This was not only related to the era in which the two lived, but the play of the two translators ’subjectivity also played a great role. In the era which Lin Shu was, although Christianity had begun to spread on the land of China, the public acceptance rate was still low. Therefore, Lin Shu omitted the relevant words or used some words with Chinese culture to replace them. By the time Huang Jizhong was in, people's acceptance of these words had greatly increased. Therefore, it is appropriate to choose the method of literal translation.<br /> <br /> This difference stems from the historical environment and historical status of the two translators being different from the object of understanding, which is the historicity of understanding. Translators and readers will always incorporate what belongs to their time in the process of understanding the original text, and that is what we called historicity. The purpose of translation is not limited to conveying the original intention of the original author, which reasonably explains the &quot;misreading&quot; phenomenon in translation. Lin Shu's downplay of religious content in the original work is an interesting phenomenon of &quot;misreading&quot;. This &quot;misreading&quot; also gives us a good explanation of why the same religious content can be understood and interpreted in two different ways.<br /> <br /> 7.There were others，which made incessant mention of “Jordan’s bank”,and “Canaan’s field”, and the “New Jerusalem”. (Stowe, 2011: 46)<br /> In the above example, there are many religious words, such as &quot;Jordan ’s bank&quot;, &quot;Canaan ’s field&quot;, and &quot;New Jerusalem&quot;. Lin Shu chose to omit them, while Huang Jizhong chose to translate them literally, translating them into “约旦河岸”、“迦南战场”and“新耶路撒冷”. These words are all from Bible and contain a wealth of referential meanings. The development of Christianity in China in the two eras was different, which was the key reason for the difference in translation between the two translators. Lin Shu's translation version is related to his era, and is closely connected with his own translation purpose. The different translation versions of the two translators are in line with their own horizons and knowledge structure, and they can also meet the readers' expectations. The different treatment methods for the religious content appearing in the original text fully reflect the translator's subjectivity and creativity. Both translators have contributed wonderful translation versions to readers of different eras.<br /> <br /> From a perspective fusion perspective, Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture. (朱健平，2006:69-74)The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, translators can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.<br /> <br /> =====3.2.2. Analysis from Cultural Image=====<br /> <br /> Gadamer pointed out in Truth and Method that understanding is not a process of reproduction, but a process of creation. It can also be said that as long as people are thinking, different understandings will arise. For some cultural images in the original work, the translations of the two translators are also different. For example：<br /> <br /> 8. As a fire in her bones, the thought of the pursuer urged her on.（Stowe, 2011:73）<br /> <br /> 林译：而意里赛此时，心绪兔起鹘。（林纾&amp;魏易，1981：25）<br /> <br /> 黄译：一想起后面的追兵，她就五内如焚。急着想向前逃命。（黄继忠，1993：49）<br /> <br /> The word &quot;fire&quot; was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxious heart at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.<br /> <br /> In the above example, the horizon of the two translators and the original author merged in different forms, thus forming two different translation versions. While the translator strives to get closer to the original author's horizon, the two translators also strive to integrate with the horizon of the readers of their time, so they adopted a more acceptable expression for the target reader of the time. The language used in China in Lin Shu ’s time was classical Chinese, and the expression was more obscure, so Lin Shu replaced “fire” with two animals to reflect the characters in the text. In the era of Huang Jizhong, literature has further developed, and the official language used in China has also become vernacular, so he used the four-word &quot;五内如焚&quot; to translate. The reason why two different translation methods can be accepted by the target readers of the era is that the translator tried hard to integrate with the reader's horizon.<br /> <br /> From the perspective of hermeneutics, the text is only a semi-finished product, which is in the process of understanding. The meaning of the text and the translator's understanding are in a constantly changing process, and they are constantly evolving. Understanding is not a one-time act, but an endless process of integration between the &quot;Horizon&quot; of original text and the translator’s &quot;Horizon&quot;. Each understanding is a process of generating textual meaning. The possibilities of textual meaning are endless, and textual meaning is a source of endless meaning.<br /> <br /> 9. The married couple were enjoying their honeymoon.（Stowe, 2011:215）<br /> <br /> 林译：彼夫妇在蜜月期内，……（蜜月者，西人娶妇时，即挟其妇游历，经月而归）。(林纾&amp;魏易，1981:75)<br /> <br /> 黄译：正值新婚夫妇在……欢度蜜月，……（黄继忠，1993：143）<br /> <br /> A text is generated from a specific cultural context, and it must also include the characteristics of the culture（李磊，2008）.In the above example, Lin Shu used the method of literal translation and annotation when translating the word &quot;honeymoon&quot;, so that the readers at the time could understand it. At that time, there was little cultural exchange between China and the West, so if Lin Shu used the literal translation method, it may cause readers to be unable to understand the word. Here Lin Shu adopted the method of annotation to translate the word, which is also a reflection of his efforts to integrate with the reader's horizon. Huang Jizhong directly adopted the literal translation method to convey the original imagery. Both the original text and the translated text exist in their respective historical conditions and horizons. Even if the translator tries his best to enter the world of the meaning of the original text and try to understand the intention of the original author, it will inevitably impose her own ideas and purposes. Coupled with the different historical environments of the two translators, the translation strategies used by them are certainly different.<br /> <br /> From the perspective of hermeneutics, literary translation is actually a process of interaction between text and readers. Because readers of different times are constrained by their own experience, intelligence, and aesthetic tastes, they have different expectations and evaluations of the translated text. The Reception Aesthetic theory pays much attention to the reader and emphasis on the uncertainty of the text, which have brought about a diversity of values and an open way of thinking. (邹广胜，2001，（4）：2) . Understanding of the text is inseparable from the initiative of the reader. The translated text must also exist in the creativity and participation of readers. Readers of different ages have different understandings of the same cultural image. Therefore, in the process of translation, the translator should not only merge with the horizon of the original text, but also the horizon of the readers that the translation work is aimed at. Only in this way, the works translated by the translator can be understood by the readers of the time, and can be admired by the readers. The majority of our translators can draw enlightenment: when translating, while observing the principles of &quot;faithfulness, elegance, and elegance&quot;, we must also take into account the reader's understanding.<br /> <br /> ===Conclusion===<br /> <br /> In the above, under the guidance of hermeneutics, we have conducted a comparative analysis of the two Chinese versions. Through the above analysis, the three major concepts contained in hermeneutics—historicity of understanding, fusion of horizons, and effective history have brought us some inspirations: 1.The existence of multiple translations is reasonable. Translation is a special interpretative act, which is based on the translator's own understanding, so it will inevitably carry the personal trace of the translator. Based on their different experiences and views, translators make different interpretations of the same text in the process of translating, resulting in different translation works. 2. Creative treason is inevitable. A correct understanding of &quot;creative treason&quot; will help translators to bravely accept the challenges and find the correct solutions when facing translation difficulties caused by cultural differences between China and the West. 3. The changes of translation works can reflect social change. On the whole, hermeneutics can effectively explain some translation phenomena and provide a new perspective for translation studies.<br /> <br /> ===Bibliography===<br /> <br /> Gadamer, Hans-Georg. Truth and Method[M]. Beijing: Peking University Press, 1999:250.<br /> <br /> Hebding, Daniel E. &amp; Glick, Leonard. 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Shanghai: Shanghai Foreign Language Education Press, 2001:56.<br /> <br /> 陈宏薇.新编汉英翻译教程[Z].上海:上海外语教育出版社, 2004:24.<br /> <br /> 洪汉鼎.诠释学：真理与方法[M].北京：商务印书馆, 2010:459.<br /> <br /> 黄继忠.汤姆大伯的小屋[M].上海:上海译文出版社, 1993:1、3、30、49、72、94、143.<br /> <br /> 李磊.从伽达默尔哲学阐释学看Uncle Tom’s Cabin 的两个中译本[D].上海外国语大学硕士学位论文, 2008.<br /> <br /> 林纾,魏易.黑奴吁天录[M].北京:商务印书馆, 1981:3、4、14、25、34、45、75.<br /> <br /> 柳晓辉.译者主体性的语言哲学反思[J].外语学刊, 2010，（1）：122-125.<br /> <br /> 谢天振.翻译的理论建构与文化透视[M].上海：上海外语教育出版社，2000:204.<br /> <br /> 邹广胜.读者的主体性与文本的主体性[J].外国文学研究, 2001,（4）：1-7.<br /> <br /> 朱健平.翻译即解释:对翻译的重新界定----哲学诠释学的翻译观[J].解放军外国语学院报, 2006,（2）：69-74.<br /> <br /> 郑立平,易新奇.翻译过程中文本理解的解释学阐释[J].外语学刊, 2015,（04）:101-104.<br /> <br /> 章启群.意义的本体论----哲学阐释学[M].上海:上海译文出版社, 2002:77.<br /> <br /> ==Comparisons of Translation in China and Western Countries from Different Historical Perspectivesr 彭丹 Peng Dan==<br /> <br /> ==On Subtitle Translation of Why Women Kill from the Perspective of Functional Equivalence Theory 唐铭 Tang Ming==<br /> <br /> ==The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan==<br /> <br /> ='''Translation Criticism'''=<br /> <br /> <br /> ==On Translation Criticism-based on back-translationTranslation 丁代凤 Ding Daifeng==<br /> <br /> ==Analysis of Liang Shiqiu's domestication and Foreignization translation strategies on the Shakespeare's plays. 苏琳 Su Lin==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ==Contrast between literal translation and free translation 刘艺 Liu Yi==<br /> <br /> ='''Cultural Differences'''=<br /> <br /> <br /> ==The Translation of English and Chinese Idioms from the Perspective of Cultural Differences 李凌月 Li Lingyue==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 马娟 Ma Juan==<br /> Abstract: English interpretation as a cross-cultural social activity refers to the cultural differences between English and Chinese. Because of cultural differences in these asapects such as historical background , customs, religion and the way of thinking, English interpretation is necessary to take all of these influences into consideration and the interpreter must have a penetrating mind of the cultural differences.When the interpreter does English interpretation, he must know the coping strategies to grapple with these problems caused by cultural differnences so as to transmit the proper,correct and decent information to the target audiences.<br /> <br /> Key words: Cultural differences; English interpratation; Coping strategies;--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:15, 31 October 2020 (UTC)<br /> <br /> ==Polysystem Theory and Cultural Turn 吴琪 Wu Qi==<br /> <br /> ==The influence of cultural differences on translation methods 姚佳 Yao Jia==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> <br /> <br /> ==='''摘要'''===<br /> <br /> <br /> ===Introduction===<br /> The long-term transmission of culture must depend on language. Language has always been an important basis for cultural inheritance. And it is also one of the tools used by different cultures in communication. The exchanges between different countries and regions have deepened in recent years. The demand for translation activities has been increasing, and the requirement for translation quality has also been gradually improved. Translation is a cultural communication activity between different countries. It is not only the conversion of two sets of language symbols. In a sense, translation has gone beyond language and become the cultural transmission between countries. There are some differences between Chinese and Western social values and ways of thinking. So it is easy to make mistakes in English translation if many words are simply understood from the expression. In addition, different nationalities are often influenced by their own cultures in the process of historical development, which will also lead to mistakes in Chinese and English translation. In the face of cultural differences, we should choose appropriate translation methods to achieve the purpose of communication. In recent years, the focus of translators has gradually shifted from language level to cultural level. They began to study translation methods from a cultural perspective.<br /> <br /> ===The Main Aspects of Cultural Differences in Translation===<br /> <br /> Translation is the process of transforming a relatively unfamiliar expression into a relatively familiar one. Wang Zuoliang, a famous translator and linguist, once said that translators are dealing with individual words, but they are facing with two large cultures.(42) Therefore, translation should include not only language but also culture. The development of each country's language has gone through a long process of cultural accumulation and it is influenced by its own history, culture, ethics and many other aspects. The differences between English and Chinese are mainly reflected in the following aspects: historical background, way of thinking, and social customs.<br /> <br /> 2.1 The Historical Background<br /> <br /> <br /> <br /> 2.2 The Thinking Mode <br /> <br /> <br /> <br /> 2.3 The Social Customs<br /> <br /> ===Influences of cultural differences on translation===<br /> <br /> 3.1 Lexical gap <br /> <br /> <br /> <br /> <br /> 3.2 Semantic conflict<br /> <br /> <br /> 3.3 Use specific translation methods from the perspective of cultural differences<br /> <br /> ===The skills to choose the proper translation methods from the perspective of cultural differences===<br /> <br /> 4.1 Focus on the work itself<br /> <br /> <br /> 4.2 Focus on the reader <br /> <br /> <br /> 4.3 Focus on the dynamic equivalence of translation<br /> <br /> ===Conclusion===<br /> <br /> ===Work Cited===<br /> <br /> ==Study of Domestication and Foreignization in Cross—Culture Translation 李海泉 Li Haiquan==<br /> <br /> ==Characteristics of Cultural Differences in Interpreting and Corresponding 吴琼 Wu Qiong==<br /> <br /> ==The Translation of Cultural Elements in Tourism Promotional Materials Under Skopos Theory 杨子泠 Yang Ziling==<br /> <br /> Abstract<br /> Abstract: As China has become an increasingly large inbound tourism country, efforts are put in the promotion of supporting facilities, among which promotion service, especially Tourism Promotional Materials (TMP), is the main way to introduce to not only Chinese tourists themselves but also the great number of foreign travelers, China’s scenic spots, natural resources and culture, and thereby arouse their interest in the landscapes and ancient cultural relics. Therefore, the translation of TMP is of vital importance in the publicity. Based on Skopostheory, this paper first introduces TPMs, then compares cultural differences in TPM translation. Finally it concludes some strategies and techniques used in TPM translation under the framework of Skopostheory. The author deems it that TPM translation should stand on the side of foreigners, meanwhile revealing the main idea of Chinese original sources.<br /> <br /> Key Words: TPM translation cultural differences Skopostheory<br /> <br /> 摘要：中国已经成为了一个旅游大国，政府开始大力完善旅游配套设施，其中旅游宣传服务，特别是旅游宣传资料是向中外游客介绍中国旅游景点，自然资源以及文化的最主要方式，从而激起他们对自然风光和古文物的兴趣。因此，旅游宣传资料对宣传工作十分重要。文章从目的论的角度出发，首先介绍了旅游宣传资料，然后对比了宣传资料中中西方的文化差异。最后基于目的论，文章总结出几种实际可行的翻译策略和技巧。作者认为旅游宣传资料的翻译应该站在外国游客的立场来传达中文素材的主要信息。<br /> <br /> 关键词：旅游宣传资料翻译 文化差异 目的论<br /> <br /> I. Introduction <br /> China is a large tourism country with rapid development of tourism industry. Tourism has become increasingly more an entertainment enriching people’s spiritual life. Serving as promotional materials and advertisements, Tourism Promotional Material(hereafter referred to as TPM) plays increasingly important role in introducing China’s specialty to the world. With the development, more and more TPMs have been translated into English in recent years. Indeed, some good translation materials leave a strong impression on travelers to China, especially those from English speaking countries. It is truly a better way to attract more visitors across the world, to introduce famous scenic spots, tourist attractions and food specialties and to promote the development of international tourism and cultural communication.<br /> TPM, to a certain degree, is a trademark and an external promotion work of tourism destinations, revealing the first image of the tourist attractions, landscapes and the surrounding environments. A good translation is of great significance in the first impression it leaves on potential visitors.<br /> Since TPM has a strong effect on the image of tourist attractions in domestic tourism industry, the study of it is of great importance. Mr. Liu Fagong (2012:70) once said, “some translation errors seem to be very slight, but it can reflect the international communicative competence of a certain area or a certain enterprise”. Inappropriate translation will not only lead to cultural misunderstanding, but also result in barriers in the development of international tourism as a whole.<br /> This thesis focuses on the possible strategies to improve the quality of TMP by comparing Chinese and western cultural differences. To guide the practice of Chinese TPM translation, various theories have been adopted and used, among which Skopostheory is going to be testified. The merits of it and the awareness of cultural differences are to be revealed. <br /> Therefore, it first introduces the definition and features of TPM. Then it reveals the difficulties in the translation of TPM caused by cultural differences. After that, the framework of Skopostheory is introduced and the methods and strategies of cultural translation in TPM is discussed under the framework of Skopostheory.<br /> <br /> II. Literature Review <br /> <br /> III. Difficulties in The Translation of TPM Caused by Cultural Differences<br /> <br /> IV. Tourism Text Sources Translation Under Skopos Rules <br /> <br /> V. The Translation of Cultural Elements in TPM Under Skopostheory<br /> <br /> VI. Conclusion <br /> <br /> References<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Research on C-E Translation of Corporate Publicity Texts from the Perspective of Functional Equivalence 彭锐宏 Peng Ruihong==<br /> <br /> 摘 要：随着全球经济一体化进程的不断发展，越来越多的中国企业开始走向全球市场，企业外宣文本的英译文本成为了国内企业与国外客户联系的桥梁。查阅我国企业外宣文本的英译本，其中不乏大量优秀译作；但同时,也有不少企业外宣英译文本的质量有待提高。在翻译企业外宣文本实践中，奈达的功能对等理论能够很好地指导企业外宣资料的翻译。因此本文将中外外宣文本进行对比，并对中外企业外宣文本的英译做深入的分析探讨。<br /> <br /> 关键词：功能对等理论；企业外宣文本；翻译方法<br /> <br /> Abstract: With the further deepening of global economic integration, more and more Chinese enterprises are going to the global market and the English translation of enterprise publicity text becomes the bridge between domestic enterprises and foreign customers. The English translation of the publicity texts of Chinese enterprises includes a large number of excellent translations; But at the same time, there are many enterprises publicity English translation with bad quality. In the practice of translation of publicity texts of enterprises, Nida’s functional equivalence theory can well guide the translation of publicity materials of enterprises. Therefore, this paper compares China’s corporate publicity texts with foreign corporate publicity texts and makes deep discussion and exploration in C-E translation of corporate publicity texts.<br /> <br /> Key Words: corporate promotional materials; Functional equivalence; translation methods--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:12, 30 October 2020 (UTC)<br /> <br /> ==A study of Functional Equivalence in Translating the Prose——A Case Study on Cong Cong 汤伊然 Tang Yiran==<br /> <br /> ==Functional Equivalence Theory and Functional Translation in Translation Studies 阳慧 Yang Hui==<br /> <br /> ==A Study of Functional Equivalence in Translating Children's Literature---A Case Study on ''The Lion King'' 刘智伟 Liu Zhiwei==<br /> 摘要：儿童期是人生发育最重要的阶段，而儿童文学对于儿童的教育影响处于前位且是第一性的。儿童文学特别要求通俗易懂，生动活泼，这也就要求儿童文学翻译作品应根据儿童心理发展特点、基于功能对等翻译理调整翻译策略。本文主要是通过儿童特点、儿童文学特点，同时结合《狮子王》翻译策略与方法，对翻译对等理论进行更加深刻的解析。<br /> <br /> Abstract: Childhood is the most important stage of life development, and the influence of children's literature on children's education is in the first place. Children's literature is particularly required to be vivid and easy to understand, which requires that translation strategies should be adjusted according to the characteristics of children's psychological development and on the basis of functional equivalence translation theory. Based on the characteristics of children and children's literature, and combined with the translation strategies and methods of ''Lion King'', the thesis makes a more profound analysis of translation equivalence theory.<br /> <br /> Key Words: Children's Psychological Characters, Children's Literature, Equivalence Theory --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:59, 1 November 2020 (UTC)<br /> <br /> ='''History of Translation'''=<br /> ==Quality evaluation of translation 谭鑫洁 Tan Xinjie==<br /> <br /> ==='''Abstract'''===<br /> <br /> == Abstract: ==<br /> This article mainly discusses the history of Chinese translation from the Eastern Han Dynasty to the founding of New China to the present, and then discusses the history of Western translation from the fourth century BCto the seventeenth century to the present, and then compares the similarities and differences of Chinese and Western translations from the time of development of Chinese and Western translations and their origins.<br /> <br /> ==='''key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ===Complete transcript of the content of the original work ===<br /> <br /> ===Same style and manner of writing===<br /> <br /> ===Equivalent effect===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==A Comparative Study on the Translation History in Western Countries and China 王煜 Wang Yu==<br /> 摘要：翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。<br /> <br /> 关键词：翻译史；西方翻译史；中国翻译史<br /> <br /> Abstract: Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.<br /> <br /> Keywords：Translation history; Translation history of the West; Translation history of China <br /> <br /> 1. Introduction: No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.<br /> <br /> 2. The Translation History of Western Countries<br /> <br /> 2.1 The First Stage: Translation in the Ancient Times<br /> <br /> The translation history of western countries first began in the the 3rd century B.C. &quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.<br /> <br /> 2.2 The Second Stage: Translation in the Middle Ages (4th-6th)<br /> <br /> 2.3 The Third Stage: Translation in the Middle Ages (11th-12th)<br /> <br /> 2.4 The Fourth Stage: Translation in the Renaissance Period<br /> <br /> 2.5 The Fifth Stage: Translation after WWⅡ<br /> <br /> 3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> <br /> ==Translation manipulated by ideology 许静 Xu Jing==<br /> <br /> ==Comparison between the History of Chinese and Western Translation 周书尧 Zhou Shuyao==<br /> <br /> '''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.<br /> <br /> '''Key words:'''The history of Chinese,The history of Western,the stages of translation history,comparison<br /> <br /> '''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。<br /> <br /> '''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比<br /> <br /> '''Ⅰ.Introduction'''<br /> <br /> Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.<br /> <br /> ='''Literal and Free Translation'''=<br /> <br /> <br /> ==Rethink Literal and Free Translation 彭永亮 Peng Yongliang==<br /> <br /> ==Examine the display of translators’ subjectivity in literary translation from the translation outlook of cognitive linguistics 宋建茹 Song Jianru==<br /> <br /> ==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization 韦洪朗 Wei Honglang==<br /> <br /> ==Peter Newmark’s Improved Views on Literal Translation and Free Translation 魏亚菲 Wei Yafei==<br /> <br /> ==Contrast between Literal Translation and Free Translation 张雪仪 Zhang Xueyi==<br /> '''Abstract：'''<br /> <br /> The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.<br /> <br /> '''Key words：'''<br /> <br /> Translation strategies, Literal translation,Free translation <br /> <br /> '''摘要：'''<br /> <br /> 直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。<br /> <br /> '''关键词：'''<br /> <br /> 翻译策略，直译，意译<br /> <br /> '''1.Introduction'''<br /> <br /> The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.<br /> <br /> Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .<br /> <br /> '''2.Different views of &quot;literal translation&quot; and &quot;free translation&quot;'''<br /> <br /> In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.<br /> <br /> In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &quot; The principle of &quot;faithfulness, expressiveness and elegance&quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &quot;faithfulness and expressiveness&quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.<br /> <br /> In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &quot;Summary of Translation Theory&quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.<br /> <br /> <br /> '''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''<br /> <br /> The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.<br /> <br /> <br /> '''3.1 Literal translation'''<br /> <br /> Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.<br /> <br /> Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.<br /> <br /> Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:<br /> <br /> (1)домашнего (своего) вора не убережешься. 家贼难防<br /> <br /> (2)знать как свои пять пальцев (видно, как на ладони) 了如指掌<br /> <br /> (3)подлить масла в огонь 火上浇油<br /> <br /> (4)как рыба в воде 如鱼得水<br /> <br /> (5)как ножом по сердцу 心如刀割<br /> <br /> (6)как гром среди ясного неба 晴天霹雳<br /> <br /> (7)на добро отвечают добром 善有善报<br /> <br /> (8)копейка рубль бережет 财从细起<br /> <br /> (9)мечты сбываются 梦想成真<br /> <br /> (10)курица всегда следует за петухом 嫁鸡随鸡<br /> <br /> (11)чего мало, того и дорого (дорого то, что мало) 物以稀为贵(12)<br /> <br /> (12)изгонять яд с помощью яда 以毒攻毒<br /> <br /> (13)сидеть как на иголках 如坐针毡<br /> <br /> (14)действия громче слов 事实胜于雄辩<br /> <br /> (15)зарыть талант в землю 埋没人才<br /> <br /> (16)висеть на волоске 千钧一发<br /> <br /> (17)лить как из ведра 倾盆大雨<br /> <br /> The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. <br /> <br /> In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g: <br /> <br /> настоять на своем 坚持自己<br /> <br /> камень с души свалился 心里的一块石头落地<br /> <br /> связать свою судьбу 把自己的命运与……相连<br /> <br /> быть на голову 高出一头<br /> <br /> вбивать в голову 往脑子里灌<br /> <br /> блеснуть метеором 像流星一样一闪而过<br /> <br /> с мизинец 小拇指这么大<br /> <br /> It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.<br /> <br /> <br /> '''3.2 Free translation'''<br /> <br /> Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:<br /> <br /> (1)В Тулу со свим самоваром не ездят.<br /> 直译：去图拉不用带自己的茶炊。<br /> 意译：多此一举<br /> <br /> (2)Честь лучше бесчестья.<br /> 直译：尊重比不尊重好。<br /> 意译：礼多人不怪。<br /> <br /> (3)словно горя с плеч<br /> 直译：把山从肩膀下卸下<br /> 意译：如释重负<br /> <br /> (4)выеденного яйца не стоит<br /> 直译：一个空蛋壳不值钱<br /> 意译：鸡毛蒜皮，一文不值<br /> <br /> (5)чужими руками жар загребать<br /> 直译：用别人的手将红炭火拨成一堆<br /> 意译：坐享其成，不劳而获<br /> <br /> (6)ни рыба, ни мясо<br /> 直译：没有鱼也没有肉<br /> 意译：不三不四，不伦不类<br /> <br /> (7)лучше синица в руках, чем журавль в небе<br /> 直译：天上的仙鹤不如手中的山雀<br /> 意译：远亲不如近邻<br /> <br /> (8)На языке мед, а под лед<br /> 直译：嘴上甜得像蜂蜜，心里冷得像冰<br /> 意译：笑里藏刀<br /> <br /> (9)И на солнце есть пятна<br /> 直译：太阳上也有黑点<br /> 意译：人无完人<br /> <br /> (10)семь раз отмерь, один раз отрежь<br /> 直译：测量了七次后再剪裁<br /> 意译：三思而后行<br /> <br /> Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.<br /> <br /> '''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''<br /> <br /> There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.<br /> <br /> '''4.1 Literal translation'''<br /> <br /> In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:<br /> <br /> (1)Куй железо, пока горячо. 趁热打铁。<br /> <br /> (2)Беда не приходит одна. 祸不单行。<br /> <br /> (3)Сытый голодного не разумеет. 饱汉不知饿汉饥。<br /> <br /> (4)Век живи, век учись. 活到老，学到老。<br /> <br /> (5)Выше встанешь, дальше увидишь. 站得高，看得远。<br /> <br /> (6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。<br /> <br /> (7)Нет дыма без огня. 无火不生烟。<br /> <br /> (8)Шила в мешке не утаишь. 口袋藏不住锥子。<br /> <br /> (9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。<br /> <br /> (10)Выше лба уши не растут. 耳朵高不过额头。<br /> <br /> (11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。<br /> <br /> (12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。<br /> <br /> (13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。<br /> <br /> (14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。<br /> <br /> По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。<br /> <br /> ==Dialectical thinking in arguments between literal translation and free translation 甘奉玉 Gan Fengyu==<br /> <br /> ===Abstract===<br /> As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)<br /> <br /> ===Key words===<br /> literal translation, free translation, word-for-word translation, over free translation, unity of opposites<br /> <br /> ===摘要===<br /> 作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)<br /> <br /> ===关键字===<br /> 直译； 意译； 死译； 过度意译； 对立统一<br /> <br /> ===Introduction===<br /> Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.<br /> <br /> ===1.Dialectic thinking of the Unity of opposites===<br /> ===2.Word-for-word translation===<br /> ===3.Over free translation===<br /> ===4.Eclectic translation===<br /> ===5.Contradiction and unity in the process===<br /> ===5.1 Contradiction===<br /> ===5.1.1 Contradiction in definition===<br /> ===5.1.2 Contradiction in application filelds===<br /> ===5.2 Unity===<br /> ===5.2.1 Unity in translation goal===<br /> ===5.2.2 Unity in translation procedure===<br /> ===5.2.3 Unity in translation standard===<br /> ===6.Conclusion===<br /> ===Bibliography===<br /> <br /> ='''Document Translation'''=<br /> <br /> <br /> ==On translation of official documents of CangNan County 吴恺 Wu Kai==<br /> <br /> On Translation of Official Documents of Cangnan County<br /> <br /> Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)<br /> <br /> ==='''Abstract'''===<br /> As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.<br /> <br /> ==='''Key words'''===<br /> official document translation, Cangnan County, opening-up, Japan, South Korea<br /> <br /> ==='''摘要'''===<br /> 自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。<br /> <br /> ==='''关键词'''===<br /> 公文翻译 苍南县 对外开放 日本 韩国<br /> <br /> ==='''I. System and Translation of Official Documents of Cangnan County'''===<br /> <br /> The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.<br /> <br /> In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.<br /> <br /> To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.<br /> <br /> The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:<br /> <br /> First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.<br /> <br /> Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.<br /> <br /> Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.<br /> Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.<br /> <br /> ==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===<br /> <br /> Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.<br /> <br /> '''1. Details and Accurate'''<br /> <br /> As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.<br /> <br /> For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”<br /> <br /> '''2. Precise and Compact'''<br /> <br /> The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.<br /> <br /> For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”<br /> <br /> '''3. Programmed and Standardized'''<br /> <br /> The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.<br /> <br /> For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.<br /> Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.<br /> <br /> ==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===<br /> <br /> Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.<br /> <br /> If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:<br /> <br /> 1. Detailed Comparison of Types<br /> <br /> In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.<br /> For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.<br /> <br /> 2. Careful Consideration of the Translation of Chinese Characters<br /> <br /> There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.<br /> <br /> For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.<br /> <br /> 3. Mastery of the Equivalence of Semantic Meaning<br /> <br /> Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.<br /> <br /> For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”<br /> <br /> There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.<br /> <br /> ==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===<br /> <br /> Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.<br /> <br /> Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:<br /> <br /> 1. The Combination of Chinese characters and Hangul<br /> <br /> Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.<br /> <br /> For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.<br /> <br /> 2. The Usage of Refined Language<br /> <br /> In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.<br /> <br /> For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”<br /> <br /> 3. Mastery of the Equivalence of Semantic Meaning<br /> <br /> Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.<br /> <br /> For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”<br /> <br /> ==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===<br /> <br /> Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .<br /> <br /> The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.<br /> <br /> ===References===<br /> <br /> [1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).<br /> <br /> [2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).<br /> <br /> [3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.<br /> <br /> [4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. <br /> <br /> [5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.<br /> <br /> [6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.<br /> <br /> [7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.<br /> <br /> [8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.<br /> <br /> [9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.<br /> <br /> [10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.<br /> <br /> <br /> --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)<br /> <br /> ==The Translation Process and Methods of Translating English Long Sentences 周艺文 Zhou Yiwen==<br /> <br /> <br /> ===Abstract===<br /> ===Key words===<br /> ===摘要===<br /> ===关键词===<br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> ===Bibliography===<br /> <br /> ==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory 张维虹 Zhang Weihong==<br /> <br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> News headlines; Skopos theory; translation<br /> <br /> ==='''摘要'''===<br /> 社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。<br /> <br /> ==='''关键字'''===<br /> <br /> ===Introduction===<br /> <br /> ===Skopos Theory===<br /> <br /> ===Features of News Headlines===<br /> <br /> ===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ='''Comparative Studies'''=<br /> <br /> ==Comparison of Modes of Expression and Ways of Thinking between English and Chinese Language in Cultural Perspective 易欢 Yi Huan==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==Comparison of Functional Equivalence and Faithfulness, Expressiveness and Elegance 曾良 Zeng Liang==<br /> <br /> ==A Comparative Study on Nida’s Functional Equivalence and Skop 义子楚 Yi Zichu==<br /> <br /> ==A Simple Comparison between Nida and Catford’s Translation Theory of Equivalence 欧阳玲 Ouyang Ling==<br /> <br /> '''Abstract:''' Nida and Cartford shared the same period of translation studies but carried on their studies from different perspective. Nida put forward two types of equivalence as two methods to achieve his ideal equivalent response of receptors(芒迪，42). His equivalence theory was built on his ideas about nature of translation, which was the process of reproducing in the receptor language the message of source language(奈达，12). The nature and task of translation in Nida’s opinion formed a theoretical basis to set the equivalence theory in a comprehensive and systematic way. Cartford, in another way, held a idea that any theory of translation must draw upon a general linguistic theory and therefore proposed the equivalence at different linguistic levels between source language and target language(Cartford,1). The paper intends to develop a comparative study upon Nida and Cartford’s theory of equivalence and my thoughts on their application in translation practices.<br /> <br /> '''Key words:''' Nida, Cartford, equivalence theory, nature of translation<br /> <br /> '''摘要：'''<br /> <br /> '''关键词：'''<br /> <br /> '''1.Introduction'''<br /> <br /> '''1.1.Nida’s Theory of Equivalence'''<br /> <br /> Nida’s translation theories were formed along with the process of his translating the Bible. Through the reflection upon these translation practices, he defined the nature of translation and pointed the task of translators. Afterwards, he discarded the old term such as “literal”, “free” and “faithful” translation by putting forward the theory of equivalence(芒迪，42) . The equivalence in Nida’s theory can be achieved at two levels: formal equivalence and dynamic equivalence and he saw the two approaches to realize his ideal translation that equivalent effect between source language receptors and target language receptors. By bringing the two concepts up, Nida provided two directions when working on a translation work as well as standards of evaluating the work after it was done. Specifically, formal equivalence in Nida’s definition is the status of translation being equivalent with the source text in both contents and forms. To achieve this status, translators should be oriented towards the source text’s message and structure(芒迪，42). And dynamic, or functional equivalence, turned further to a new focus on the response of receptor. If the target language receptors react to the translation in the same way as source language receptors do to the source text, the success of a translation is then achieved in Nida’s functional equivalence theory. His theory put forward a new trend of translation studies at that time. Nida’s equivalence theory directed people to evaluate a translation by judging and comparing the response of receptors in stead of considering the correctness and accuracy of translation or comparing the formal and stylistic features between source language and target language. In a comprehensive and systematic way, Nida’s equivalence theory elaborated the approaches and the ideal status of translation based on his understanding on the nature of translation, and this equivalence theory has always been praised as his greatest achievement in translation studies.<br /> <br /> '''1.2.Cartford’s Theory of Equivalence'''<br /> <br /> Cartford’s translation theories were built on the discipline of linguistics, and his equivalence theory was included of course. Cartford stated in his book A Linguistic Theory of Translation the theory of translation is concerned with a certain type of relation between languages and is consequently a branch of Comparative Linguistics(Cartford, 20). His theory of equivalence was also originated his definition of the nature of translation, which is the replacement of textual material in one language by equivalent textual material in another language( Cartford, 20). His definition, in other words, portrayed the task for translators. In his opinion, in the process of translation, translators are supposed to replace every grammatical and lexical items in the source language with equivalents in the target language. So in this way, the equivalence in Cardford’s theory can be graded into different levels according to the extent of the replacement, and then he put forward the distinction of full translation and partial translation. Moreover, he raised another pair of concepts: textual equivalence and formal corresponding, and it may give a clearer picture for us to understand his theory. If the target language text can be judged by bilinguals or linguists equivalent with the source language text in any given discourse or occasion, the textual equivalence is achieved. As regards the formal corresponding, Cartford defined it as an approximate status when any target language category occupies, as nearly as possible, in the same place in the structure of the target language as the given source language category occupies in the source language. This pair of concepts presented two different degrees of equivalence and have become a valuable source in translation studies. <br /> <br /> '''2.Similarities and Differences'''<br /> <br /> 2.1.The Similarities between the Two Theories<br /> <br /> 2.2.The Differences between the Two Theories<br /> <br /> 3.My Thoughts on the Two Theories<br /> <br /> 4.Conclusion<br /> <br /> ==Comparision between the traslation systems proposed by Tan Zaixi and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==Comparison of translation theories by Eugene nida and Susan Bassnett 胡慧芳 Hu Huifang==<br /> <br /> ==A Comparative Study Between Lun Xun’s View of Translation and Venuti’s Translation Theory 司妤 Si Yu==<br /> <br /> ===Abstract===<br /> ===Key Words===<br /> ===摘要===<br /> ===关键词===<br /> ===Introduction===<br /> ====Lun Xun’s View of Translation====<br /> ====Venuti’s Translation Theory====<br /> ===Similarities and Differences===<br /> ====The Similarities Between Lun Xun’s View of Translation and Venuti’s Translation Theory====<br /> ====The Differences Between Lun Xun’s View of Translation and Venuti’s Translation Theory====<br /> <br /> ==A Comparative Study Between the Skopos Theory and Yan Fu’s Translation Thoery 吴一露 Wu Yilu==<br /> <br /> ==='''Abstract'''===<br /> <br /> Skopos theory and the theory put forward by Yan Fu, that is “ Faithfulness, Expressiveness and Elegance” are one of the most representative translation theories respectively in the history of Chinese and Western translation theories. And these two theories have a profound impact to Chinese and Western translation theories and practices. This paper will compare the similarities and differences between these two theories as well as their historical contributions and limitations. It aims to get a deeper understanding of Skopos theory and Yan Fu’s theory and a better application of theories in practice. In the meantime, the collision and comparative analysis of Chinese and Western theories will also promote the study of translation theories and provide a reference for guiding translation practice.<br /> <br /> ==='''Key words'''===<br /> <br /> Skopos Theory; Faithfulness, Expressiveness and Elegance; Hans Vermeer; Yan Fu<br /> <br /> ==='''摘要'''===<br /> <br /> 目的论和严复提出的翻译理论即 “信达雅”分别是中西方翻译理论史上最具代表性的翻译理论之一。并且这两种翻译理论对中西方翻译理论和实践产生了深刻的影响。本文将对比研究目的论以及“信达雅”的同异，结合比较这两种理论的历史贡献及局限,旨在加深对目的论和“信达雅”理解，并将理论更好地运用到翻译实践中。同时中西方理论的碰撞和对比分析，也会促进翻译理论研究和为指导翻译实践提供依据。<br /> <br /> ==='''关键词'''===<br /> <br /> 目的论；信达雅；汉斯·弗米尔；严复<br /> <br /> ==='''1. Introduction'''===<br /> <br /> Skopos is the Greek word for “aim” or “purpose” and was introduced into translation theory in the 1970s by the German linguists Hans J. Vermeer as a technical term for the purpose of a translation and developed in Germany in the late 1970s. The creation of Skopos theory is a significant achievement of western translation theories, providing a new perspective for translation study. In 1897, Yan Fu set down the triple translation criteria of “Faithfulness, Expressiveness and Elegance,” (Xin Da Ya), which influenced the development of translation practice and theory for almost half a century after it came into being and it still exerts great influence on contemporary TS. As now the scope of integration and exchanges between China and Western world are expanding to various fields, this paper will reexamine these influential theories by comparing their commonalities, differences and influences, so as to broaden our vision of translation theory study.<br /> <br /> ==='''2. Introduction of Skopos Theory and Yan Fu’s Theory'''===<br /> <br /> ===='''2.1 Skopos Theory'''====<br /> <br /> Skopos theory comprises the idea that translating and interpreting means to produce a target text in a target setting for a target purpose and target addressees in target circumstances (Vermeer, Hans J.1987a). This new-born theory breaks the limited and conventional translation studies of source-text oriented views and provides a new perspective for translation studies. Translators pay more attention to the translation, the readers, the social effect of the translation and communication function. <br /> <br /> ====='''2.1.2 The Development of Skopos Theory'''=====<br /> <br /> The creation of Skopos theory in not going to happen overnight; it is a gradual process that can the skopos theory become the core of functionalist approach, which is initially proposed by Hans Vermeer. Its formation and development experienced mostly three periods.<br /> <br /> (1) Katharina Reiss’s research <br /> <br /> The book Possibilities and Limits of Translation Criticism, written by Katharina Reiss in 1971, marked the appearance of German translation theories and was the first time raised the idea that text function could be listed as a standard of translation criticism and came up with thoughts of functional translation theory. The core of her translation theory is text typology, including informative text (content-focused), expressive text (form-focused), operative text (appeal-focused) and the auto-medial text, which laid a foundation of Skopos theory.<br /> <br /> (2) Hans J. Vermeer: Skopos theories and beyond<br /> <br /> Vermeer, Reiss’s student, casting off the chains of Translation Equivalence, thought: translation is not a mechanical language interpretation, but an activity with an aim or purpose. In skopos theory, the status of the source text is not as important as the target text. The source is an &quot;offer of information&quot;(Vermeer, Hans J. 1982.). According to Action Theory, human action is a kind of purposeful behavior in a given situation. In his opinion, translation also is such a kind of action with purpose on the foundation of a source text. Hence, Vermeer names his theory Skopos theory, a theory of purposeful action. Hans J. Vermeer believed that the purpose of a text determines the translation strategies. The most important ingredients determining the purpose of translation is readers. So translators should better to consider integrally both the purpose of translation and special circumstances of target-text readers before interpreting.<br /> <br /> (3) Justa Holz-Manttari and Christiane Nord: the theory of translational action and Function plus Loyalty Principle<br /> <br /> Manttari differentiated “translation” and “translational action”. She thought that “translation” is simply transformative action while “translation action” is more intricate behavior designed to transfer message overcoming culture and language barriers. In Christiane Nord’s Translating as a Purposeful Activity-Functionalist Approaches Explained, she defines the Skopos theory as the prime principle determining any translation process. But Nord also found there were some drawbacks of Skopos theory, so she putted forward the “loyalty principle”: the responsibility of translators towards to their partners in translational interaction. <br /> <br /> ====='''2.1.3 Rules of Skopos Theory'''=====<br /> <br /> There are three rules of Skopos theory, including skopos rule, coherence rule and fidelity rule.<br /> <br /> “The top-ranking rule for any translation is thus the ‘skopos rule’ (Vermeer), which means that a translation action is determined by its skopos; in other words, that is “ the end justifies the means” (Reiss Katharina &amp; Vermeer Hans J. 1984). As defined by Vermeer and translated by Nord, the Skopos rule states: “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation it is used and with the people who want to use it and precisely in the way they want it to function.” Whether the function of the source text or passages in the source text can be preserved or have to be modified or even changed all decided by the purpose of translation (Christiane Nord, 1997). The skopos is divided into three forms: translator purpose, communicative purpose of the translated text and the purpose of using some kind of translation strategies. <br /> <br /> Coherence rule talks about that the target text must be coherent with the source text, given target text receivers circumstances and knowledge (Pochhacker, Franz, 1995). Translators should pick out what is meaningful in the receivers’ condition. As elaborated by Nord, a communicative interaction can only be regarded as successful if the receivers interpret it as being sufficiently coherent with their situation. Under this rule, the receivers of the target text, as well as their cultural background, social circumstances, expectations, values and norms should all be taken into consideration as major factors to produce meaningful translations.<br /> <br /> The last rule concerns the intertexual coherence between target text and source text---the target text is determined by its skopos. It means the skopos of target text should share identical views with the intention of original author. In accordance to this, the form of the target text would be determined by both the translator’s interpretation of the source text and the translation’s purpose.<br /> These three rules connect with each other. Coherence rule and fidelity rule are subject to skopos rule. From above three rules, we come to a conclusion that the evaluation criterion of translation is “adequacy”—dynamic standard-- rather than “equivalence”. Therefore, translator should not be literalists who rigidly adhere to the words of the source text.<br /> <br /> ===='''2.2 Yan Fu’s Theory'''====<br /> <br /> ==='''3. Similiarities and Differences'''===<br /> <br /> ===='''3.1 The Similarities betweeen these Two Theories'''====<br /> <br /> ====='''3.1.1 Fidelity Rule and Faithfulness'''=====<br /> <br /> ====='''3.1.2 Coherence Rule and Expressiveness'''=====<br /> <br /> ====='''3.1.3 Skopos Rule and Elegance'''=====<br /> <br /> ===='''3.2 The Differences between these Two Theories'''====<br /> <br /> ====='''3.2.1 Different Theory Systems'''=====<br /> <br /> ====='''3.2.2 Different Translation Standards'''=====<br /> <br /> ====='''3.2.3 Different Translator Status'''=====<br /> <br /> ==='''4. A Comparative Study of the Contribution and Limitation of these Two Theories'''===<br /> <br /> ===='''4.1 Contributions of these Two Theories'''====<br /> <br /> ===='''4.2 Limitations of these Two Theories'''====<br /> <br /> ==='''5. Conclusion'''===<br /> <br /> --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:53, 30 November 2020 (UTC)<br /> <br /> ='''Art of Translation'''=<br /> <br /> <br /> ==The Art and Science of Translation --Take the Literary Translation as an Example 桂一枝 Gui Yizhi==<br /> <br /> ==Study on the English Translation of Hunan Scenic Spots Names from the View of Culture Translation 刘欧 Liu Ou==<br /> <br /> Abstract<br /> <br /> Key words<br /> <br /> 摘要<br /> <br /> 关键词<br /> <br /> 2.1 The Abundant Resource of Hunan Scenic Spots <br /> <br /> 2.2 The Meaning of View of Culture Translation<br /> <br /> 2.3 The Existing English Translated Versions of Hunan Scenic Spots<br /> <br /> 2.4 The Strategy of English Translation of Hunan Scenic Spots Names from the View of Culture Translation<br /> <br /> Conclusion<br /> <br /> Bibliography<br /> <br /> ==A study of English Translation of Chinese Cultural Classics from the Perspective of Communication 余妮 Yu Ni==<br /> ===41.3.1 Abstract===<br /> ===41.3.2 Key words===<br /> ===41.3.3 摘要===<br /> ===41.3.4 关键词===<br /> ===41.3.5 The background and meaning of English Translation of Chinese Cultural Classics===<br /> ===42.3.6 The present situation of English Translation of Chinese Cultural Classics===<br /> ===42.3.7 What we can improve in English Translation of Chinese Cultural Classics===<br /> ===42.3.8 Conclusion===<br /> ===42.3.9 Bibliography===<br /> <br /> ==The Visible Images and Invisible Hands: An Analysis of Lefevere’s ManipulationTheory and Venuti’s Deconstruction of The Translator’s Invisibility 祝美梅 Zhu Meimei==<br /> <br /> In the early 1990s, Lefevere, a representative of the cultural school of translation studies and a well-known translation theorist, elaborated Manipulation Theory is his book Translation, rewriting and the Manipulation Literary Fame, in which he said: Translation is, of course, a rewriting of an original text. All rewritings, whatever their intention, reflect a certain ideology and a poetics and as such manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society. <br /> Lefevere, defines translation as a form of rewriting, thus treating translation as a form of creating another text image, just like literary criticism, biography, literary history, film, drama, fiction, falsification of anthologies and reader’s guides. But it doesn’t mean that translation is rewriting. Lefevere thinks rewriting includes some other forms, for example, historiography, anthology,, criticism and editing. He ven emphasized that translation creates the literary and cultural image of the original text, the original author, and the original text. All rewriting, regardless of its intention, reflects a certain ideology and poetics. Therefore, translation is actually the manipulation of the translator to the text, which makes literature work with a certain way in a particular society. In any case, the understanding of translation as rewriting or manipulation of the original text deepens people’s understanding of translation to a great extent. <br /> In Lefevere’s view, there are three elements influencing the function of translation. The first one is professionals within the literary system, including critics, reviewers, teachers and translators who will affect the acceptance of translated works; the second is patronage outside of that system. Patronage here can be seen as the powers that can further or hinder the reading, writing, and rewriting of literature, and the third is the dominant poetics. <br /> Lefevere’s translation theory represents an important turning point in the history of translation study. He developed Zohar’s poly-system theory. And he studies translation in cultural approach. <br /> Before the “cultural turn”, translation was seen almost as an exclusively linguistic process, in which the translator was required to find the TL equivalent for a SL expression and which was not influenced by any other factors than linguistic ones. But in fact, Lefevere’s translation theory could instruct translation activities in many cases. Based on the understanding of three control factors, the translator will solve problems encountered in the process of translation, exploring changes of translation strategies under various factors, mainly including ideology, poetics and patronages, which will be introduced in the next chapter. <br /> <br /> Three control factors <br /> Lefevere points that all literature works should be placed in a certain social and cultural environment. Thus its meaning and value is influenced by these factors. The audience’s apprehension of the work also differs for these factors. He emphasizes three factors manipulating translation: ideology, poetic and patronage.<br /> Introduction of poetics <br /> According to Lefevere, a poetics includes two components. One is the literary method which consists of literary genres, prototypical characters and situations, motifs, symbols. The other is the concept of the literature function. <br /> As a theory about the study of poetry and their skills, poetics is also a theory of literature and art. After choosing some types of practice at a certain period, while excluding others, the poetics is codified. Then it will have tremendous influence on the further development of the literary system. Lefevere holds that the translation methods adopted by the translators are carried out under the guidance of certain strategies of certain poetic factors. It exerts on the choices of words, sentecnes, even the style and translation strategies of the whole article. Translation has greatly influenced the exchange of different literary systems, not only in introducing new literary methods into a certain poetics, but also in whether the image of a writer or a work can be successfully introduced into another literary system. In Lefevere’s view, as the manipulatin of a translator, rewriting should be regarded as a cultural necessity in essence, because translators are bound to be influenced and constrained by different social and cultural factors in the process of translation. <br /> Rewriting under the guidance of poetics is an important part of the cultural system in which the rewriters produce works. Rewriters often adjust the original works to a certain extent to be in line with the dominant ideology and poetics of the period in which the rewriters lived, and to make the rewritten works accepted by as many audiences as possible. In order to adapt some famous works to the cultural background of various society and history, they have also been rewritten to varying degrees. As is mentioned above, works of the dominant poetics is what people called classics for future writers to follow. But “a poetics, any poetics, is a historical variable: it is not absolute.” For instance, poetics today differs from the dominant poetics of the Tang dynasty. In cater to the change of the dominant poetics, these canonized works will be adapted o rewritten. This is why some classical Greek works still have an impact on Western literature. Translators pay more and more attention on the poetic factors in translation, further developing translation theory. Poetics solve the problem of what literature should or can be, and deciding the role and influence of translation in the society to some extent. In the process of translation, emphasizing more on meaning and lesson poetic factors and literary component will make the poetic aesthetic sense of the original work disappear. <br /> Lefevere also points that any poetics transcend language, ethnic and political entities which is demonstrated by listing Multilanguage regions or various forms of social and political organizations in Africa share a common poetics. In his eyes, the poetics will not be adapted to any language, but the dominant poetics is dominated by the ideology. <br /> Introduction of ideology<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 谭媛媛 Tan Yuanyuan==<br /> <br /> ==On Translation Strategies of Different Style, Taking English Journalistic Style and English Literary Style as an Example 张银柳 Zhang Yinliu==<br /> ==Translation Manipulated by Ideology 李泳珊 Li Yongshan==</div>

Wu Kai https://bou.de/u/index.php?title=History_of_Translation_Studies&diff=106922 2020-12-02T04:45:39Z

<p>Wu Kai: /* On translation of official documents of CangNan County 吴恺 Wu Kai */</p> <hr /> <div>这里是《翻译学史》的书稿。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。<br /> <br /> 学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。<br /> <br /> Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]<br /> =Acknowledgement=<br /> I am indebted to the more than 300 students of the Master Course &quot;Introduction to Translation Studies&quot; conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously.<br /> The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.<br /> =Foreword=<br /> Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.<br /> <br /> The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.<br /> <br /> In the 1960s, the translation studies started to become aware of itself as an academic discipline.<br /> =Introduction=<br /> <br /> =The Emergence of Translation and Interpretation=<br /> <br /> =Western Translation Theories=<br /> =='''Impacts of Western Translation Theories on The Translator’s Guide to Chinglish'''==<br /> <br /> '''Abstract:''' In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, during which there exist various characters, theories, schools of translation, exerting great influences on translators an translating activities at present. The book ''The Translator’s Guide to Chinglish'' has discussed the “Chinglish” by English learners and translators in China. The author’s outlooks on translation also have shown the ideologies of western translation theories.<br /> <br /> '''Keywords:''' Western translation theories; Translation history; Translator’s Guide to Chinglish; <br /> <br /> '''摘要：'''据记载，西方翻译理论与实践的历史已达两千余年，这其中不乏各大翻译家、翻译理论和翻译流派等，他们都对如今的翻译工作者和翻译活动产生了深远的影响。《中式英语之鉴》这本书讨论了中国英语学习者和翻译工作者的“中式英语”问题。作者在此书中的观点体现着西方的翻译理论思想。<br /> <br /> '''关键词：'''西方翻译理论；翻译史；《中式英语之鉴》<br /> <br /> '''I. Introduction'''<br /> <br /> Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials. <br /> <br /> The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated ''Septuagint'' into Greek to the 16th century when the translation of the Bible prevailed, it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu &amp; Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force. <br /> <br /> In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc. These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book ''The Brief History of Western Translation'', “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories. <br /> <br /> Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school. The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.<br /> <br /> '''II. School Classification''' <br /> <br /> Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel. In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.<br /> <br /> As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories. To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation. If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective. <br /> <br /> From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original. As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth. <br /> <br /> Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating ''the Bible'' and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God. In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of ''the Bible'' depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text. From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation. In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”; we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; Paul Valery emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.<br /> <br /> Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century. People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess. The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language. <br /> <br /> From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.<br /> <br /> However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.<br /> <br /> '''III. About ''The Translator’s Guide to Chinglish'''''<br /> <br /> Joan Pinkham, a professional translator from the U.S., published the book ''The Translator’s Guide to Chinglish'' in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book. ''The Translator’s Guide to Chinglish'' consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make. <br /> <br /> First of all let’s take a look at examples given in the fist chapter:<br /> <br /> promoting the cause of peaceful reunification;<br /> <br /> reforms in the sphere of economy;<br /> <br /> to ensure a relationship of close cooperation between.<br /> <br /> Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34) in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow. Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16) It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:<br /> <br /> to bring about a change in this state of affairs;<br /> <br /> until China realizes its modernization;<br /> <br /> trying to entice the Korean army to launch an attack against them.<br /> <br /> “Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.” <br /> <br /> In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs. <br /> <br /> In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing. After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”<br /> <br /> The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.” The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents. This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence. <br /> <br /> '''IV. Discussion'''<br /> <br /> From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, ''On Linguistic Aspects of Translation'' by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating. He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target. From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles. In 1971 in the book ''Translation and Limitations in Translation Criticism'', Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority. Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.” Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original. <br /> <br /> Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation. For example:<br /> <br /> the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;<br /> <br /> The author revises it into:<br /> <br /> the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.<br /> <br /> In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.” As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)<br /> <br /> Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization. Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language. <br /> <br /> <br /> The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating. Here’s an another example: <br /> <br /> we should draw up correct development and construction plans for all these zones;<br /> <br /> The author revises it into:<br /> <br /> we should draw up correct plans for the development of all these zones.<br /> <br /> The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)<br /> <br /> '''V. Conclusion'''<br /> <br /> In summary, ''A Brief History of Western Translation Theories'' by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation. The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language. In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth. <br /> <br /> ''The Translator’s Guide to Chinglish'' by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences. I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history. More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.<br /> <br /> '''References:'''<br /> <br /> [1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25<br /> <br /> [2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05<br /> <br /> [3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30<br /> <br /> [4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05<br /> <br /> 主要参考书目:《西方翻译简史》、《中式英语之鉴》<br /> <br /> =Derrida and Benjamin=<br /> =='''Comparison of Derrida’s and Benjamin’s Translation View'''==<br /> <br /> '''Abstract：'''In western traditional translation view, conveying the meaning is the first aim. However, in Benjamin’s eye, this is an agreement of language non-identity, which does no good to the development of linguistic development. Benjamin has used the non-identity of language to overturn the ideas that view language as a tool. In this way, he has been regarded by many scholars as the forerunner who rebelled against the western logocentrism. He also did quite a lot contribution to the development of translation and his idea of pure language can be called the most well-known feature of him. While another dominate figure of deconstructivism is Derrida who has put logocentrism under great challenge. He’s no doubt one of the representatives of deconstructivism and he has created many concepts like différance, dissemination, trance etc., which serves not only in linguistics, philosophy but also in translation.<br /> In the history of western translation, Benjamin has always been classified as a member of deconstructivism. However, compared with another leading figure of deconstructivism, he has totally different understanding on translation. This essay is trying to undergo the comparison study between the two predominant figure’s comprehension on translation mainly through the aspects of pure language and difference, metaphrase and relevant translation, later life and rebirth of original texts. In the conclusion, we have concluded the comparison between the two figures’ attitudes towards five dimensions, respectively, original work, author, translator, translation work and translation criterion. At last we can find that in fact, Benjamin does not belong to deconstructivism.<br /> <br /> '''Key words:''' Benjamin, Derrida, deconstructivism<br /> <br /> '''摘要：'''在西方传统翻译观中，传递意义是首要目的。但是，在本雅明的眼中，这是对语言不一致性的认同。因此，这种传统的翻译观对于语言的发展并无益处。本雅明运用了语言的不一致性，并以此一举推翻了传统的观念，人们认为语言知识一种工具。通过这种方式，本雅明被视为众多学者中反抗西方逻各斯主义的先驱。他对翻译的发展做出了卓越的贡献，并且他纯语言的概念深入人心，成为他身上最闪亮的思想之一，也是他被众人所知的特点之一。然而另一位解构主义的大人物，德里达亦是以一己之力推翻西方的逻各斯中心主义。毫无疑问，他是解构主义的代表人物之一并且他也创造了“延异”，“播撒”，“痕迹”等概念。这些概念不仅仅推动了语言学、哲学的发展，也推动了翻译学的发展。<br /> 在西方翻译历史中，本雅明总是被划为解构主义者。但其实与另一位解构主义的大人物相比，他对于翻译有着自己完全不同的理解。 本文打算进行这两位巨人的翻译理论对比，主要通过以下方面：纯语言与差异性，直译与“relevant”翻译，后世生命与重生。在最后的总结部分，笔者从五个角度总结了两位巨人的不同态度，对于原作的态度，对于作者的态度，对于译作的态度，对于译者的态度和对于翻译标准的态度。最终，我们能够发现严格意义上来说，本雅明完全不属于解构主义学派。<br /> <br /> '''关键字：'''德里达，本雅明，解构主义<br /> <br /> '''1.Pure Language and Difference'''<br /> <br /> In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation. Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. '''(Cao Danhong 6)''' In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.'''(Wei Jiangang &amp; Sun Yingchun 75)''' In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” '''(Wohlfarth 27)'''. As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language. And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. '''(Paul De Man, 99)'''<br /> <br /> Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical. However, this reference cannot be achieved through one single language, but through the complement of various languages” '''(Benjamin 61)''' That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation. Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.<br /> <br /> What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce&quot;, which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. '''(Davis 10)''' In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning. Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. '''(Cai Xinle 200)''' What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition. If there is a starting point, the meaning will flow no more as it can be fixed in the very beginning. If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. '''(Zhu Gang 20)'''<br /> <br /> Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship. If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is. Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything. There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.<br /> <br /> '''2. Metaphrase and Relevant Translation<br /> '''<br /> <br /> As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. '''(Benjamin, 67)''' In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language. Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. '''(Paul De Man 104)''' To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation. Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit. <br /> <br /> Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos… Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. '''(Wang Yingchong 15)''' However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible. With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?<br /> <br /> Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. '''(Derrida 429)'''<br /> <br /> Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. '''(Wang Yingchong 17).''' Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary. <br /> <br /> In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.<br /> <br /> '''3. Afterlife and Rebirth<br /> '''<br /> <br /> Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence. The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival. Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. '''(Benjamin 76)<br /> '''<br /> Benjamin has regarded the original work as vigorous organism so that translation is views as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly. With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. '''(Kramer 24)''' However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language. <br /> <br /> The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. '''(Benjamin,60)'''<br /> Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.<br /> <br /> Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. '''(Derrida 2003)''' Starting from such complementary relationship, Derrida abolished the original position of the original work as original work has no difference from translation work in that original work is the translation work of former texts, and translation work can be translated as original work for later texts. La differánce of meaning is infinite that all the texts are the limited comprehension of semantic differánce, which supplement and substitute each other, constructing a constantly flowing semantic chain. A text that depends on other texts but differs from other texts at the same time constantly waits for supplement and substitution in the semantic net. Text is a claiming process that goes beyond meaning in itself; it’s the trace of a sequence of movements. The ultimate text that can cover the infinite semantic differánce doesn’t exist and the ultimate meaning is intangible as meaning is mobile and infinite.<br /> <br /> All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary. There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.<br /> <br /> '''4.Conclusion<br /> '''<br /> <br /> In a word, through the comparative study of Benjamin’s translation view and Derrida’s translation view, we can find something in common but the two still distinct with each other and own their unique perspective and ideas.<br /> <br /> Firstly, on the aspect of original work, translation theories of deconstructivism emphasizing infinite differánce of meaning and relativity and fluidity of text deny the originality of original works with intertextuality. Lots of texts appear, one differing from the former a little bit; all of them are the translation of translation. Each text has its unique features, and at the same time, it’s the translation of another text, thus, no text is the absolute original work plus language itself is a kind of translation. In the first place, it’s the translation of non-linguistic world and in the second place, every sign and phrase are the translation of another sign and phrase. '''(Bssnett 112)''' Nonetheless, Benjamin insists on the originality of original work, emphasizing that linguistic core is contained only in the original work and the function of translation is to liberate the relationship between the signifier and signified. Hence, if Benjamin denies the originality of original work will make the ground of his translation view lost.<br /> <br /> Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author'''(Jiang Xiaohua &amp; Zhang Jinghua 42)'''. However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.<br /> <br /> Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.<br /> <br /> Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work. Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.<br /> <br /> Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language. The most obvious distinction between the two is that the former has no intention to provide a solution or a conclusion after dissolving the criterion of translation, which is a little bit puzzling while the latter has set the transcendental body of pure language to declare the existence of absolute translatability, with intensified mode to present what is not in presence and to bring things far away nearer to us as distant things. '''(Derrida 79)<br /> '''<br /> <br /> To sum up, Benjamin cannot be classified as a member of translation school of deconstructivism no matter from the perspective of ideas and the structure of his theories. Although Benjamin has many points of view that are similar with ideas of deconstructivism, but his theory system completely different.<br /> <br /> '''Bibliography'''<br /> <br /> [1]Basnett, Susan &amp; Lefevere, Andre (eds.). Translation, History and Culture. London and New York: Pinter Publishers, 1990.<br /> <br /> [2]Benjamin, Walter. The Task of the Translator: An Introduction to the Translation of Baudelaire's Tableaux Parisiens. Harry Zohn (trans.). Lawrence, Venuti (ed.). The Translation Studies Reader (Second Edition). New York: Routledge, 2004: 75-85.<br /> <br /> [3]Davis, Kathleen, Deconstruction and Translation. Shanghai: Shanghai Foreign Language Education Press,2004.<br /> <br /> [4]Derrida, J. What is A “Relevant” Translation? Lawrence, Venuti (trans. &amp; ed.). The Translation Studies Reader (Second Edition). New York: Routledge,2004:423- 446.<br /> <br /> [5]本雅明. 写作与救赎:本雅明文选.李茂增、苏仲乐译.上海:东方出版社, 2009: 61<br /> <br /> [6]蔡新乐. 相关的相关——德里达“相关的”翻译及其他.北京:中国社会科学出版社, 2007.<br /> <br /> [7]曹丹红. “本雅明《译者的任务》再解读”，中国翻译：2012（5）：5-9<br /> <br /> [8]德曼.“结论”:瓦尔特.本雅明的“翻译者的任务&quot;. 郭军译.郭军、曹雷雨编.2003:83-112.<br /> <br /> [9]蒋骁华、张景华. “重新解读韦努蒂的异化翻译理论兼与郭建中教授商榷”.中国翻译, 2007 (3): 39-44.<br /> <br /> [10]克拉默.本雅明. 鲁路译. 北京:中国人民大学出版社，2008.<br /> <br /> [11]王颖冲. “再论德里达的 “relevant&quot; translation”. 中国翻译，2011 (5): 11-19.<br /> <br /> [12]魏建刚、孙迎春. “本体论抑或方法论——本雅明《译者的任务》再探”.外语与外语教学，2013(2): 72-76.<br /> <br /> [13]沃尔法思. 一个马克思主义者的“创世纪&quot; . 郭军译. 郭军、曹雷雨编.2003:27-42.<br /> <br /> [14]朱刚. 本原与延异:德里达对本原形而上学的解构.上海:上海人民出版社，2006.<br /> <br /> =Translation Aesthetics=<br /> =='''Study on Gladys’ Translation of ''The Border Town'' from the Perspective of Translation Aesthetics'''==<br /> <br /> '''Abstract:''' As a famous novel, ''The Border Town'' written by Shen Congwen maninly introduces young people’s pursuit of love in Xiangxi as well as the simple folk customs, so the novel has great aesthetic value. It is necessarily of high significance to analyze English versions of ''The Border Town'', which is full of aesthetic features, from the angle of Translation Aesthetics. The paper tries to analyze Gladys Yang’s English translation of the novel from five aspects under Translation Aesthetics: beauty in sound, beauty in lexis, beauty in form, beauty in image and beauty in ideorealm in order to test and measure the practicality and operability of Translation Aesthetics in literary translation.<br /> <br /> '''Key words:''' Translation Aesthetics; ''The Border Town''; Liu Miqing; Lin Yutang <br /> <br /> '''翻译美学视角下《边城》戴乃迭英译本之探究'''<br /> <br /> 作 者：向晓蔚<br /> <br /> （湖南师范大学外国语学院，长沙 410081）<br /> <br /> '''摘 要：'''作为一部名作，沈从文的《边城》以清丽的笔触描绘了湘西地区的青年人对美好爱情的追求以及纯厚朴实的民风，蕴含浓郁的审美价值。对于《边城》这样一部美学价值极高的作品，从翻译美学的角度进行探讨将具有重要意义。因此，本文从翻译美学角度入手，从音韵美、用词美、形式美、意象美和意境美五个方面对小说《边城》戴乃迭的英译本进行分析，旨在验证翻译美学理论在文学翻译中的实践性和可操作性。<br /> <br /> '''关键词：'''翻译美学；《边城》；刘宓庆；林语堂<br /> <br /> Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics.<br /> <br /> <br /> '''1 About Translation Aesthetics''' <br /> <br /> Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.<br /> <br /> '''1.1 Development of Translation Aesthetics in China'''<br /> <br /> The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories. Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin. The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.<br /> <br /> '''1.2 Lin Yutang’s theory of Translation Aesthetics'''<br /> <br /> In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of ''On Translation''. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.<br /> <br /> So in the article of ''On Translation'' written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.<br /> <br /> '''1.3 Liu Miqing’s theory of Translation Aesthetics'''<br /> <br /> In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book ''An Introduction to Translation Aesthetics''. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2] Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.<br /> <br /> “Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, ''The Book of Songs'' on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book. These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs. It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST. If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.<br /> <br /> According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.<br /> <br /> The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.<br /> <br /> In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity.<br /> <br /> Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.<br /> <br /> '''2 A case study of The Border Town from the perspective of Translation Aesthetics'''<br /> <br /> ''The Border Town'' is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.<br /> <br /> Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of ''The Border Town'' from the perspective of Translation Aesthetics.<br /> <br /> '''2.1 Beauty in sound'''<br /> <br /> Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.<br /> <br /> '''2.1.1 Rhyme'''<br /> <br /> Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5]. To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.<br /> <br /> Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]<br /> <br /> Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]<br /> <br /> This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text. When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.<br /> <br /> '''2.1.2 Onomatopoeia'''<br /> <br /> Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.<br /> <br /> The onomatopoeias in ''The Border Town'' demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated. However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.<br /> <br /> Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]<br /> <br /> Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9]<br /> <br /> Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]<br /> <br /> Translation: To show his agreement, Brownie sets up a furious barking.[11]<br /> <br /> In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.<br /> <br /> '''2.2 Beauty in lexis'''<br /> <br /> Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads. As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.<br /> <br /> Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]<br /> <br /> Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]<br /> <br /> Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui. Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.<br /> <br /> '''2.3 Beauty in form'''<br /> <br /> Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules. Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.<br /> <br /> Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s ''The Border Town''.<br /> <br /> '''2.3.1 Parallelism'''<br /> <br /> Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device. The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in ''The'' ''Border Town''. Look at the example:<br /> <br /> Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]<br /> <br /> Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]<br /> <br /> In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people. In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.<br /> <br /> '''2.3.2 Antithesis'''<br /> <br /> Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other. Look at the example below.<br /> <br /> Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]<br /> <br /> Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]<br /> <br /> In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.<br /> <br /> '''2.3.3 Repetition'''<br /> <br /> From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device. Here is an example:<br /> <br /> Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]<br /> <br /> Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]<br /> <br /> This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...” Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.<br /> <br /> '''2.4 Beauty in image'''<br /> <br /> Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.<br /> <br /> Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]<br /> <br /> Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]<br /> <br /> This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again. The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream. The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”. With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version. It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.<br /> <br /> '''2.5 Beauty in ideorealm'''<br /> <br /> Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings. It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.<br /> <br /> Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]<br /> <br /> Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]<br /> <br /> This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature. Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view. Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest. Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”. More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.<br /> <br /> Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]<br /> <br /> Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]<br /> <br /> In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival. Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again. The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.<br /> <br /> '''3 Conclusion'''<br /> <br /> After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works. On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.<br /> <br /> =Culture Loaded Words=<br /> =='''The Translation of Culture-loaded Words in Chinese-English Communication'''==<br /> '''文化负载词在中英交流中的翻译'''<br /> <br /> '''摘要：'''随着经济全球化的深入发展，各国之间的文化交流日趋频繁。文化信息的成功传递是跨文化交流中的重要一环。文化负载词的翻译一直是译者面临的一大难题。准确传译文化负载词关系到译文质量的提高，跨文化交流活动的顺利进行以及文化的传播。本文将由六个部分组成。第一个部分和第二部分将分别讲述文化负载词的定义以及其翻译的难点。第三部分和第四部分将讲述文化负载词的翻译策略及其不可译性。第五部分和第六部分将分别讲述文化负载词的翻译对口译的影响并对本文进行一个简短的总结。<br /> <br /> '''关键词：'''翻译；文化负载词；文化差异<br /> <br /> '''Abstract:''' With the development of economic globalization, the cultural exchange among different countries becomes more and more frequent. The successful transmission of cultural message is an important link in international exchanges. In translation activities, the translation of culture-loaded words is a great challenge for translators, because the speaker and the audience come from a different linguistic and cultural environment. The accurate translation of culture-loaded words will help improve the quality of translation, enable successful cross-cultural exchanges and promote culture transmission. This paper will be divided into six parts. The first part will tell readers what is culture-loaded words. The second part will concentrate on the difficulties to translate culture-loaded words.The third part will discuss the translation approaches to culture-loaded words. The fourth part will focus on the question of translatability of culture-loaded words. The fifth part will introduce the interpreter’s translation of culture-loaded words. And the last part will briefly draw a conclusion about the paper.<br /> <br /> '''Key words:''' translation; culture-loaded words; cultural differences<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> <br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior. In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa. Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden. In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> <br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures. Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> <br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves. The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237) Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> <br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage. The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. ''The Bible'' illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> <br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo. In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress. Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation. The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world. The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example. “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns. Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> <br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty. For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science. For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> <br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does. Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> <br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture. <br /> <br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew. Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result. If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”. Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea. The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example. According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers. Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English. But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people. When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl. So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl. Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people. In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said. The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers. <br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate. By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94) It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95) This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130) Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture. It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> '''References'''<br /> <br /> [1] Baker, Mona. ''In Other Words: A Coursebook on Translation.'' London: Routledge, 1992<br /> <br /> [2] Chen, Junming. [陈君铭]. 谈汉语文化负载词的不可译性[J]. 淮南师范学院学报, 2013(4):28-31<br /> <br /> [3] Cui, Shan. [崔姗]. 翻译补偿视角下的中国茶名英译研. 福建茶叶, 2019(2):125-126<br /> <br /> [4] Dai, Weidong. [戴炜栋]. 《新编简明英语语言学教程》. 上海: 上海外语教育出版社, 2002<br /> <br /> [5] Eugene A, Nida and Charles R, Taber.''The Theory and Practice of Translation''. Leiden：E.J.Brill,1969<br /> <br /> [6] Guo, Huqing. [郭卉青]. 释意理论视角下文化负载词的英汉口译策略[J]. 陕西能源学院学报, 2018(2):94-96<br /> <br /> [7] Huang, Yongyuan and Zhang, Jing. [黄永媛, and 张晶]. 中西文化起源对比与研究. 东北农业大学学报(社会科学版). 2011(6):107-109<br /> <br /> [8] Lawrence, Venuti .''The Translator’s Invisibility: A History of Translation''. London and New York: Routledge, 1995<br /> <br /> [9] Liao, Qiyi. [廖七一]. 《当代西方翻译理论探索》. 南京: 译林出版社, 2002<br /> <br /> [10] Steiner, George. ''After Babel: Aspects of Language and Translation''. Oxford: Oxford University Press, 1998<br /> <br /> [11] Wang, Xiang. [王祥]. 全球化语境下文化负载词翻译技巧. 开封教育学院学报. 2017(8):75-76<br /> <br /> [12] Xu, Xianling and Li, Xiangzhuang. [徐先, and李相状]. 中国饮食文化. 北京：中国戏剧出版社, 2005<br /> <br /> Zhang, Jiachen. [张佳琛]. 中国“食”文化的异化翻译. 长沙理工大学学报（社会科学版）, 2014(3):140-107<br /> <br /> =Skopos and Functional Equivalence=<br /> =='''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''==<br /> <br /> '''Abstract：'''This paper first makes a brief introduction of the two very important translation theories, which are Functional Equivalence Theory and Skopos theory, put forward by Eugene Nida and Hans Vermeer respectively. Then the paper analyzes the similarities and differences between the two theories from many different perspectives. Through the analysis of the two theories, the author finally puts forwards its own thoughts on the two translation theories.<br /> <br /> '''Key words：'''Functional Equivalence Theory; Skopos theory; Eugene Nida; Hans Vermeer<br /> <br /> '''摘要：'''本文首先对翻译研究中两种极为重要的翻译理论，即尤金·奈达提出的功能对等翻译理论和汉斯·弗米尔进行了简要介绍，之后从多个不同的方面对这两种理论的相似点和不同之处进行分析。最后，在对两种理论进行分析后，作者提出自己对这两种理论的看法和认识。 <br /> <br /> '''关键词：'''功能对等理论；翻译目的论；尤金·奈达；汉斯·弗米尔<br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”. In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”. Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text. And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence. On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”. In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language. Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means. However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response. From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”. All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory. <br /> <br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text. Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers. However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation. And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms. While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes. Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers. <br /> <br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”. This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144). Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> <br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation. It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo--translation and translationese cases. At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language. Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries. Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture. But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious. For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context. Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text. This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards. When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies. People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities. Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> Reference books: 《奈达论翻译》by谭载喜&amp;《西方翻译理论通史》by刘军平<br /> <br /> Bibliography：<br /> <br /> [1] Eugene A. Nida. ''Toward a Science of Translating'' [M]. Leiden: E. J. Brill, 1964.<br /> <br /> [2] Eugene A. Nida, Charles Taber. ''The Theory and Practice of Translation'' [M]. Leiden: the Netherlands, E. J. Brill, 1969.<br /> <br /> [3] Hans Vermeer. ''Framework for a General Translation Theory'' [M] ,1978.<br /> <br /> [4]谭载喜.奈达论翻译 [M].北京：中国对外翻译出版公司,1984.<br /> <br /> [5]刘军平.西方翻译理论通史 [M].武汉：武汉大学出版社,2009.9.<br /> <br /> [6]百度百科：功能对等理论<br /> <br /> [7]百度百科：翻译目的论<br /> <br /> [8]百度百科：目的论的优点与不足<br /> <br /> [9]百度百科：功能对等理论的贡献与局限性<br /> <br /> [10]彭长江.英汉--汉英翻译教程[M].长沙：湖南师范大学出版社，2017.8.<br /> <br /> [11]百度百科：功能对等理论与目的论的比较<br /> <br /> =='''Comparative Study on Functional Equivalence Theory and Skopos Theory'''==<br /> <br /> '''摘 要'''<br /> <br /> 近几十年来，翻译理论层出不穷，翻译理论也带有多元化倾向。奈达从语言学的角度出发，根据翻译的本质，提出了功能对等理论，在这一理论中，他指出“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”。功能主义目的论的代表人物弗米尔认为翻译是一项有目的的活动，并且以实现译文的预期功能和效果为首要原则。<br /> 这两种理论都是具有较大影响力的西方翻译理论。它们在不同的时期由不同流派提出，本文着重分析两大理论在理论基础、翻译标准、文化观等层面上的差异性，并分析其相似性。通过对这两种理论的共性和差异进行比较，旨在加深我们对这两种貌似神离的翻译理论的认识与了解，让我们在不同的领域中能恰当地使用这两种翻译理论,更好地发挥各自的指导作用。<br /> <br /> '''关键词：'''功能对等；目的论；差异性；相似性<br /> <br /> '''Abstract'''<br /> <br /> In recent decades, translation theories have emerged in an endless stream, and translation theories have a tendency to diversify. From the perspective of linguistics, Eugene Nida puts forward the theory of functional equivalence according to the nature of translation. In this theory, he points out that &quot;Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style&quot;. While one of the representatives of functionalist skopos theory, Hans J. Vermeer, considers that translation is a purposeful activity, taking the realization of the target text’s intended function as its first principle.<br /> These two theories have great influence in western translation theories. They are proposed by different schools in different periods. This paper will focus on the differences between these two theories in terms of theoretical basis, translation standards, and cultural direction, and then analyze their similarities. By comparing the differences and similarities between the two theories, it will deepen our understanding of these two translation theories so that we can properly use them in different fields, thus better playing their respective guiding roles. <br /> <br /> '''Key words:''' Functional Equivalence; Skopos Theory; comparison<br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level. However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response. The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response. He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation. Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text. <br /> <br /> Example:“来吧，朋友!”<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text. <br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader. <br /> Example: “as white as snow.”<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory. <br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle. So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose. The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory. <br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78). Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view. The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose. <br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists. <br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as .much as possible.<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees. From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand. The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> '''3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot; In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> '''Conclusion''' <br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.<br /> <br /> '''Bibliography'''<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies: Theories and Application''[M], London &amp; New York: Routledge, 2001:77.<br /> <br /> Nida, E.A. ''Language and Culture: Context in Translation'' [M]. Shanghai: Shanghai Foreign Language Education Press, 2001:117. <br /> <br /> Reiss, Katharina &amp; Hans J. Vermeer. ''Groundwork For a General Theory of Translation''[M]. Tubingen: Niemeyet, 1984:101.<br /> <br /> Vermeer, Hans J. ''Didacitics of Translation''[A]. ''Routeledge Encycolopedia of Translation''[C]. London &amp; New York: Rutledge, 1998:20.<br /> <br /> 陈刚．《翻译学入门》[M]．杭州：浙江大学出版社,2011:145.<br /> <br /> 范德瑞.奈达功能对等理论与功能主义目的论比较研究[J].淮海工学院学报(人文社会科学版),2019,17(04):66-69.<br /> <br /> 李长栓.《非文学翻译理论与实践》[M].北京：中国对外翻译出版公司.2009:11<br /> <br /> 张春柏.影视翻译初探[J].中国翻译,1998(2):50-53.<br /> <br /> 张锦兰.目的论与翻译方法[J].《中国科技翻译》2004,17(01):1.<br /> <br /> 张美芳.功能加忠诚--介评克里丝汀·诺德的功能翻译理论[J]．外国语,2005(1):60-65.<br /> <br /> =='''On the Comparison between &quot;Sublimation&quot; an &quot;Functional Equivalence&quot; Theories'''==<br /> <br /> '''Abstract''': Qian Zhongshu and Eugene Nida are outstanding and renowned translators in the history of Chinese and Western translation respectively. It is believed that Mr.Qian’s “Sublimation” theory and Nida’s “Functional Equivalence” theories have a broad and profound impact on Chinese and Western translation theories and practices. This paper will recognize the theoretical value of these two theories from the dialectical point of view by comparing the similarities and differences between “Sublimation” and “Functional Equivalence”. It aims to better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a historical and contradictory perspective, and thus making Translation Studies become more systematic and scientific.<br /> <br /> '''Key words''': sublimation; functional equivalence; Qian Zhongshu; Eugene Nida<br /> <br /> '''Introduction''':<br /> As a famous master of literature, translation and academy, Qian Zhongshu is considered as “the Kunlun Mountain of culture” by many scholars on account of his remarkable achievements and a wide range of knowledge. His literary masterpieces include “Pipe-awl Chapters” , “Discourses on Art”, “Seven Patches”, “Selected Essays of Qian Zhongshu”, “Fortress Besieged” and so on. What’s more, he proposed “Sublimation” theory in translation field, which does great contribution to traditional Chinese translation theory and make Translation Studies more systematic. As Chinese scholar Chen Fukang said: “He (Qian) has made a great many outstanding achievements in some important fields like literature and academic research. Although the discussion on translation is only a carved railing in his academic palace, it can have a huge impact in the field of translation studies.” (Chen Fukang 2000: 417).<br /> <br /> Eugene Nida is a famous American contemporary linguist and translation theorist. He has been devoted to the translation of the Bible and has summarized a set of translation theories from his own translation practice. The core point of his translation theory is “Functional Equivalence” (initially called “Dynamic Equivalence”). From his point of view, “Functional Equivalence” is to refer to the type of equivalent reflected in a TT which seeks to adapt the function of the original to suit the specific context in and for which it was produced” (Shuttleworth &amp; Cowie, 2004: 64). It requires that the translation should focus on the meaning and spirit of the original text, instead of being constrained by formal correspondence. According to this theory, he deems that the translation must have four criteria: (1) conveying meaning; (2) expressing spirit; (3) natural and smooth wording; (4) similar receptor response. In his book “From one language to another”, he replaced “Dynamic Equivalence” with “Functional Equivalence” and put forward two levels of meaning, say, referential meaning and associative meaning.<br /> <br /> <br /> '''1.The theoretical origin of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''1.1 The theoretical origin of “Sublimation”'''<br /> <br /> The idea of Qian Zhongshu’s translation theory of “Sublimation” comes from his book “Lin Shu's Translation” written in 1963 and “The Pipe-awl Chapters” published by Zhonghua Book Company in 1979. He proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. Then he pointed out: “The highest ideal of literary translation is ‘sublimation’. When you translate the literary works from one language to another, you can not only avoid the trace of stiffness and awkward expressions resulting from the different habits of language use, but also completely preserve the flavor of the original. Then we can say, that's the realization of ‘Sublimation’ ” (Qian Zhongshu, 2002: 77). According to his explanation, it can be easily seen that the core of his translation theory is “Sublimation”. What’s more, we can extract 3 levels of “Hua” (Sublimation) from his theory, the first is to transform the source text to target text, and then use the domesticating method to make the source language be naturally and smoothly expressed in target language without any transparent feeling of translation caused by the differences of culture and language. Finally, it is the ultimate goal of “Sublimation” that is to say, “the transmigration of souls”, replacing the external shell and retaining the inner spirit and style without the slightest deviation. In other words, a translation should cleave to the original with such fidelity that it would not read like a translation, for a literature work in its own language will never read as though it were through a process of translation (Kao, 1975: 8-9). <br /> <br /> '''1.2 The theoretical origin of “Functional Equivalence”'''<br /> Nida first proposed the concept of dynamic equivalence in the 1964 book “Toward s Science of Translating”. He believed that there were two kinds of equivalence in translation, namely formal equivalence and dynamic equivalence. Specifically, formal equivalence is the “quality of a translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. On the contrary, dynamic equivalence is the quality which characterizes a translation in which “the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (Nida &amp; Taber, 1982: 200-201). Nida’s translation theory has its origin from his own translation practice of the Bible, in which he emphasized the communicative function of translation from the perspective of semantics and information theory. What's more, he regarded translation as interlingual translation, and he stressed the importance of paying attention to the receptors' response, in order to pursue the standard that target readers could have the same response as the original readers. In his book “From one language to another”, he changed the term “Dynamic Equivalence” to “Functional Equivalence” and he emphasized that we should try to achieve formal equivalence on the basis of the accordant information conveyed from the source text to the target language. In addition, he divided the translation process into three steps, say, “analysis, transfer, restructuring and check”. Through these four steps, the original information can be accurately conveyed, the response of the target receptors is also concerned, and the purpose of communication will be well achieved.<br /> <br /> <br /> '''2.Similarities and differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''2.1 Similarities between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) The same concern for the translation processes: As we mentioned above, Mr. Qian Zhongshu proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. To put them specifically, “enticement” refers to the role that plays in cultural exchanges by means of translation. In this sense, translation can be regarded as a guide that will lead target readers to understand the original language and culture and to better understand foreign excellent works. This process is of great significance because If the readers have little interest in the source language culture and foreign literature; then the translation works will lose its value. So we can say that translation is not only a conversion of two languages, but also a collision between different cultures and thoughts. The so-called term “Misinformation” refers to the distortion and wrong expression of the translation. Since “Misinformation” is the inevitable shortcoming of translation, no matter how excellent a translator is and no matter how smooth his translations are, he can not avoid making mistakes of one sort or another in one way or another, but he can exhaust every means to reduce misinformation to its minimum (Yu Chengfa,2003: 43). This is due to the gap between different languages, the gap between the translator's understanding, the style of writing and the form of original content, and even the gap between the translator's comprehension and his ability of expression. The final step is called “Hua Jing”; here “Hua” means “Sublimation”,which is the highest ideal of literary translation and also the ultimate goal of translation processes. A translator should try to figure out what the original writer means and ponder over what he imagines so so to immerge oneself with the writer(Luo Xinzhang, 1984: 511). Qian Zhongshu's explanation of the process of translation is the essential condition for the realization of “Sublimation” (Hua). Therefore, when doing translation practice, the translator has to make each step be well prepared, which requires a high standard of the translator's ability and quality. <br /> <br /> Similarly, based on the theory of “functional equivalence”, Nida proposed a “four-step model” of the translation process from the perspective of linguistics, namely, “Analysis, Transfer, Restructuring and Check”. Nida and Taber claim that all languages have between six and a dozen basic kernel structures and “agree far more on the level of kernels than on the level of more elaborate structures” such as word order. First of all, “Analysis” denotes that we have to analyze the surface structure of the source text and then to master the grammatical meaning of the sentence, in other words, the referential meaning and connotative meaning of the source text. In order to convey the original information correctly, the translator must analyze the text from surface structure to the deep structure. Then, “Transfer”, it means that the translator renders the analyzed source text to the target text. This step contains the conversion of two different language symbols and language forms, and it is also an exchange of different thinking modes. Next, “Restructuring” is the re-processing and re-creation of the original text, in which the translator will translate the original text into the target one that conforms to the expression of the target language, getting rid of the constraints of the surface structure of the original text, thus further excavating the meaning of the deep structure. Restructuring is thus defined as forward translation, or in other words the process which is the reverse of back-transformation (Shuttleworth &amp; Cowie, 2004: 145). Last but not least, &quot;Check&quot; refers to the process of comparing the text of the original language with the target language so as to avoid semantic errors in the translation works, and pursue the maximum equivalence between the content of the target text and the content of the original text. Nida and Taber’s own description of the process (1969: 63–9) emphasizes the ‘scientific and practical’ advantages of this method compared to any attempt to draw up a fully comprehensive list of equivalences between specific pairs of SL and TL systems (Jeremy Munday, 2016: 63). <br /> <br /> (2)The same concern for the response of the target readers: Since ancient times, the domestic and foreign translators have different opinions on the criteria of excellent translation. Yan Fu proposed his famous three-character guideline, namely, “Faithfulness, Expressiveness and Elegance” in his translation work “Evolution and Ethics and Other Essays”. Similarly, western translator Alexander Fraser Tytler put forward the “Three principles of translation”. To put it simply, that the translation should give a complete transcript of the ideas of the original work; that the style and manner of writing should be of the same character as that of the original; that the translation should have all the ease of the original composition. From the analysis of Yan Fu’s and Tytler’s description of translation criteria, we can see the fact that the study of the principles and standards of translation is precisely the translator’s emphasis on the target readers, and also reflects the translator’s sense of responsibility for the target culture. Qian Zhongshu's “Sublimation” theory stressed that translators should guide our readers to read foreign literary works or let our readers be attracted by the foreign culture and introduce foreign writers to them. “Sublimation” is not only a standard for translation, but also a reflection of translators’ care for the target readers. Mr. Qian said: “The translation should be faithful to the original work, so that it does not read like a translation work, because the original work will never be read like a translation in the situation of source culture.” A good translation can stimulate the reader's curiosity about the original work and also give the reader the enjoyment of beauty. What’s more, Mr. Qian also commented the three principles proposed by Yan Fu: <br /> <br /> “Faithfulness in translation should include expressiveness and elegance. Expressiveness gives full scope to faithfulness, and elegance is not just to adore expressiveness. To convey the original in the same style---that is faithfulness. ...Many have come to understand that a translation is not supposed to beautify or polish to attain elegance. Yet few have realized that a translation has to give up the words for the spirit. A translation can be intelligible without being faithful to the original, yet can be faithful to the original without being intelligible to the reader.”(Qian Zhongshu, 1986: 1101) <br /> <br /> In the meanwhile, Nida deemed that the accuracy of the translation depends on the extent to which the ordinary readers correctly understand the original text, that is, whether the target reader can obtain similar or identical feelings when reading the translation works. The purpose of “functional equivalence” is to satisfy the communication needs of the readers. In order to achieve this goal, we have to change the form of the original text if it is necessary and consider the reader's acceptance of the translation work. Nida's “Functional Equivalence” requires not only the faithfulness to the original text, but also the accountability to the target readers and the original readers. Nida describes various “scientific approaches to meaning” related to work that had been carried out by theorists in semantics and pragmatics. Central to Nida's work is the move away from the old idea that a word has a fixed meaning and towards a functional definition of meaning in which a word acquires meaning through its context and can produce varying responses according to culture. <br /> <br /> From what we has discussed above, we can see that both Nida’s “Functional Equivalence” and Qian Zhongshu’s “Sublimation” must take the reader’s reaction into consideration. Therefore, as a standard for translation, these theories avoid mechanical textual equivalence and bilingual conversion, which promotes the development of translation practice.<br /> <br /> (3)The Domesticating tendency of the two theories: As we mentioned in the very beginning, Mr. Qian’s “Sublimation”(化) theory has three meanings, namely “Transfer”(转化), “Domesticating”(归化) and “Sublimation”(化境). It can be seen easily that “Domesticating” is a bridge connecting the transformation of source text and the realization of Sublimation in target language. In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original. In addition, he appreciates Lin Shu’s translation works, and comments that he would rather read Lin Shu’s translation than read Haggard’s original text. In this way, Mr. Qian Zhongshu seems to prefer the text of “Chinese-oriented” style, which demonstrates the tendency of “Domestication”. In the theory of “Functional Equivalence”, Nida advocates the use of the expression habits of the target language to transform the original text. He believes that language is the means of communication, and communication is the ultimate goal and an important role of translation, so he pays more attention to the receptors' response to the target text. In order to allow the target readers to accept the translation, it is necessary to make the translation correspond to the cultural traditions and language habits of the target language. At the same time, the translator has to make the translation natural and smooth under the premise of ensuring loyalty. Nida's “Domesticating” translation tendency can be seen from the above view. Please look at the following example:<br /> <br /> S: “white as snow”<br /> <br /> T: “白如木棉花” or “白如鹭毛” or “白如蘑菇”<br /> <br /> From the point of view of traditional translation standards, the above example runs counter to the original information. However, for those who have never seen snow will never know what snow is alike, and therefore he can't understand what &quot;white as snow&quot; means. Through the strategy of “Domestication”, the target readers can have a similar response to the original readers, so as to better achieve the purpose of communication.<br /> <br /> '''2.2 Differences between “Sublimation” and “Functional Equivalence”'''<br /> <br /> (1) Different theoretical basis: Qian Zhongshu's “Sublimation” theory is based on Yan Fu’s criteria of translation “Faithfulness, Expressiveness and Elegance”, which is the development of Chinese traditional translation theory. Qian Zhongshu's “Sublimation” theory has pushed the study of translation to the extreme of art from the category of aesthetics. Eventually, the “Sublimation” theory was included in the course of the development of Chinese translation thought, say, “Case - Seeking faithfulness - Spiritual likeness - the Sublimation”. These four concepts, are independent, but also interconnected. They developed gradually to constitute a whole translation system and this whole system works as an important part of our traditional translation theory (Luo Xinzhang, 2009: 20).<br /> <br /> Nida’s “functional equivalence” was established on the basis of his Bible translation practice. Under the guidance of Chomsky’s transform-generating grammar, Nida’s functional equivalence requires that the translator analyze the given text from the surface structure to the deep structure; then transform it from the deep structure of the original text to the deep structure of the target text, and finally adjust the target language structure to obtain the surface structure of the translated version. From a series of steps, we can see that the hierarchical and theoretical property of translation studies, so Nida put forward his opinion that translation could be considered as a science. Qian Zhongshu thought that the translated works could surpass the original works and sometimes even should be much better than the original; while Nida did not choose the advantageous version between the original and the target text- his more emphasis goes to the equivalence between the two languages and the response of the target receptors thus more priorities were given to the communicative function. <br /> <br /> (2)Different scopes of their application: “Huajing” (Sublimation) was proposed by Mr. Qian Zhongshu for literary translation standards; hence it may be more appropriate for the translation of literary genre. He considered that translator should “break through” the barriers of cultural differences and make the translation “surpass” the original work. However, it seems unreasonable for the translations of applied styles which relates to politics, economics, law, trade, etc. In addition, some scholars believe that Mr. Qian’s “Sublimation” has over-emphasized the mystery of art and has become a vague standard that could be hard to reach (Gao Huali, 2009: 154). The “highest ideal” of the literary translation he described will inevitably produce the problems of “Misinformation”, which would limit the scope of application of “Sublimation”. Despite the fact that scholars and experts of one generation after another have made their fruitful efforts to shed light on “Sublimation” from various aspects, it remains theoretical unexplainable and practical unattainable, like “an attic, in the air” to many people in the translation circle (Yu Chengfa, 2003: 8) <br /> <br /> On the contrary, Nida’s translation of Bible carries religious culture with integrity and solemnity. He preached to people from all walks of life in order to spread the will of God; therefore, his translation must not only meet the needs of the aristocracy, but also the needs of ordinary people who lack knowledge of religious culture. The target readers of the “functional equivalence” theory is the masses from all walks of life in the society, and its range of application is more practical. Nida’s equivalence of translation is derived from the translation practice of the Bible. As we know, western languages have a lot in common in culture and words of expression, so Nida’s “equivalence” is relatively easy to achieve between two European languages. In English-Chinese translation, it may be more difficult to achieve complete “equivalence”, because Chinese and English belong to different language systems, and their cultures are rather divergent. Nida strictly divides the translation steps into four, which can be used as a practical translation method to guide the translation of some scientific and technical articles, announcements, and application articles. For literary genres, such as the translation of poetry and prose, the translator's creativity may be more important. It is difficult to convey the literary nature of the original text by mechanical methods and steps.<br /> <br /> '''3.A Critical Understanding of “Sublimation” and “Functional Equivalence”'''<br /> <br /> '''3.1 Is “Sublimation” faithful ?'''<br /> <br /> According to traditional translation theory, the translator is always regarded as the &quot;servant&quot; of both the original and the translated text. He must be faithful to the original author while concerning the target readers. Xu Jun (2003: 321) wrote in his book “On Translation”: “Three points are often emphasized in traditional translation theory: first of all, translators should not incorporate their own subjective thoughts in translation; then they should not express their individuality in translation; in the end, translators should render the text on the basis of original message, and loyally follow the thoughts of the original writer. From the analysis of Qian Zhongshu’s “Sublimation” theory, it is clear to see that he is more inclined to the translation strategy of “Domestication”, which emphasizes that the target version can surpass the source text. He, himself appreciates Lin Shu’s translation works, because of their common advocacy and similar historical background. From the point of view of historical materialism, “social existence determines social consciousness, and social consciousness has an adverse effect on social existence.” For example, Lin Shu was living in a closed country and at that time , Qing Dynasty was extremely arrogant or even ignorant. His style and characteristics of the translation were naturally influenced by this national sentiment. Therefore, his translation had tendency to “Domestication” or even an unfaithful translation. Qian Zhongshu lived in a period of prosperity in literature and art since the establishment of People's Republic of China and at that time Chairman Mao proposed the policy of “All flowers blossoming and hundreds of schools contending (百花齐放，百家争鸣). So our Chinese people were overflowing high spirit and proud emotion; some translators’ translation works are more inclined to take the advantages of “Domestication” and make the translation work more excellent than the original one. Such a translation strategy will be somewhat “disloyal” to the original text, and will not “sincerely imitate” the original text as Lu Xun advocates from his “Foreignization” method. It is difficult to concretely implement “Sublimation” theory, because it has become an “unattainable” goal. Whether the translation should be “Chinese-oriented” or “European-oriented”; be “faithful” or “creative”, and whether the translator should be “visible” or “invisible” in translation are all difficult standards to measure since these factors are inevitably affected by the subjective and historical objectivity of the translator. Is “Sublimation” really a faithful translation to the original text? Perhaps just as Mr. Qian himself said: “The translator’s ability to use his native language is more flexible and smooth than the original author’s ‘source language’ and that is what always happens in the history of translation.” We can consider that such “disloyal” is “faithful” in a certain sense.<br /> <br /> '''3.2 Problems of Nida’s “Functional Equivalence”''' <br /> <br /> The questions of meaning, equivalence and translatability became a constant theme of translation studies in the 1960s and were tackled by a new ‘scientific’ approach followed by one of the most important figures in translation studies, the American Eugene Nida. Eugene Nida’s theory of translation developed from his own practical work from the 1940s onwards when he was translating and organizing the translation of the Bible, training often inexperienced translators who worked in the field. <br /> As for Nida's “functional equivalence” theory, praise and opposition to his theory are always existing in the translation circle. Some people think that the theory is a representative of the science of translation science and has a good guiding role in translation practice. However, there are also some scholars who disagree with this theory and for example Peter Newmark is one of its critics. He believed that Nida’s equivalence theory takes the reader too seriously, but sometimes sacrifices the actually original thoughts of the writer. It is also doubtful whether “functional equivalence” can be applied to the original texts of various subjects. If the translator partially pursue “functional equivalence”, which will makes it difficult for the target readers to fully understand the original cultural information and it is not conducive to the mutual communication between different countries and cultures. For the above example: if we render “White as snow” as “白如鹭毛”, target readers may understand the meaning of the original author, but they still have no idea of what the word “snow” actually means. This has become a situation where we cannot get two things at the same time, or in Chinese “鱼和熊掌不可兼得”. However, If the original text is literally translated as “white as snow”, then the translator continues to explain what substance a “snow” is and what characteristics it may have and why we say its color is as white as egret’s feathers. In this way, not only can the readers of the translation work have the same response as the readers of the original, but also it is conducive for them to learn to understand new things and new concepts, which will gradually promote the communication of different cultures and the mutual interests of different countries. <br /> <br /> '''4.Conclusion'''<br /> <br /> Mr. Qian Zhongshu’s “Sublimation” theory and Nida’s “Functional Equivalence” respectively represent huge progress in Chinese and Western translation studies, and they played an important role for the reference of translation studies and practice. Their theory is likened a treasure-house that requires more investigation and more exploration. Their theory is likened a treasure-house that requires more investigation and more exploration. Furthermore, we must learn their theories with a critical view, so as to strive for innovation and establishment of a new era for translation studies.<br /> <br /> '''References'''<br /> <br /> [1]Chen Fukang. A History of Chinese Translation Theories in China [M].Shanghai: Shanghai Foreign Language Education Press.2000.<br /> <br /> [2]Gao Huali. A Short History of Translation And Interpretation in China And Other Countries [M].Hangzhou：Zhejiang University Press.2009. <br /> <br /> [3]Kao, Gorge. (trans.) Lin CH'in-nan Revisited [A]. By Qian Zhongshu. Renditions [J], autumn, 1975: 8-21<br /> <br /> [4]Luo Xinzhang.On Translation [M].Beijing：The Commercial Press.1984.<br /> <br /> [5]Mark, Shuttleworth, Moira Cowie. Dictionary of Translation Studies [M]. Shanghai: Shanghai Foreign Language Education Press. 2004.<br /> <br /> [6]Munday, Jeremy. Introducing translation studies: Theories and applications. Routledge, 2013.<br /> <br /> [7]Nida, Eugene A. &amp; Charles R.Taber (1969/1982) The Theory and Practice of Translation, Leiden: E. J. Brill.<br /> <br /> [8]Qian Zhongshu.Pipe-awl Chapters [M].Beijing：Zhonghua Book Company.1986.<br /> <br /> [9]Qian Zhongshu.Seven Patches [M].Beijing：SDX Joint Publishing Company.2002.<br /> <br /> [10]Xu Jun.On Translation[M].Wuhan：Hubei Education Press.2003.<br /> <br /> [11]Yu Chengfa. Interpreting Sublimation [D].Central China Normal University,2003.<br /> <br /> =Theory and Practise=<br /> =='''Translators' Views on Translation Influence Their Translation Behavior'''==<br /> <br /> <br /> '''Abstract:''' A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Key words:''' translator’s view; translation behavior; translation principles; responsibility<br /> <br /> '''译者翻译观对其翻译行为的影响'''<br /> <br /> '''摘要：'''译者在翻译中处于核心位置。译者的翻译观指译者本身对于翻译的理解，其中包含了译者的翻译策略和价值取向。不同的译者受其社会与文化及个人经历和意识形态的影响，会有不同的翻译观。翻译观作为译者意识形态的一种，对翻译行为有着很大的影响。对于译者来说，翻译从来不是个人行为，而是一种对原作者、原作、读者及译入语文化的责任。<br /> <br /> '''关键词：'''译者；翻译观；翻译行为；翻译原则；责任<br /> <br /> A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. And “translation behavior”, in a broad sense, includes the translators’ linguistic translation behavior and the social transcend-translation behavior. In a narrow sense, it only means the translators’ translation as a “pure” translator (Zhou 18). The “translator behavior” in this thesis is a broad one, that is, translators’ translation behavior can be influenced by their social and cultural context, their motivations for translation, their views on translation and the linguistic translatability of the SL and their translation competence (Xu Jun 199-254). Specifically, the translation behavior we will discuss is “what to translate (what works they translated)” and “how to translate (their translation principles)”. According to A. Lefevere, ideology and poetics together dictate the translation strategy and the solution to specific problems (39). The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. <br /> <br /> So how is translation behavior associated with translator’s views?<br /> <br /> From the very beginning the research of translation was limited in a certain extent, and then there were some scholars starting to study on the relationship between translation and other systems, including Even-Zohar, Bassett, Lefevere and Venuti.<br /> <br /> '''I.Some Previous Studies''' <br /> <br /> A.Even-Zohar’s Polysystem<br /> <br /> According to ''Introducing Translation Studies'':<br /> <br /> “Polysysten theory was developed in the 1970s by the Israeli scholar Itamar Even-Zohar borrowing ideas from the Russian Formalists of the 1920s and the Czech structuralists of the 1930s and 1940s . . . For the Formalists, a literary work was not studied in isolation but as part of a literary system . . . Literature is thus part of the social, cultural, literary and historical framework . . .” (Munday 165). <br /> <br /> In 1978, Even-Zohar in his “The position of translated literature within the literary polysystem”, first gives a new term, the polysystem (Even-Zohar 22), emphasizing the translated literature operates as a system in itself: <br /> <br /> (1)in the way the TL culture selects works for translation;<br /> <br /> (2)in the way translation norms, behavior and policies are influenced by other co-systems (Even-Zohar 22).<br /> <br /> Thus, translation is not isolated, but associated with other systems, for instance, the TL culture. And the ST that chosen by a culture correspond to the organized system rather than arbitrary decisions made by individuals. Also translation works occupies different position in different cultures and has something to do with the position of the national literature.<br /> <br /> B.Bassett and Lefevere<br /> <br /> Later, “Bassett and Lefevere go beyond language and focus on the interaction between translation and culture, on the way in which culture impacts and constrains translation and on ‘the larger issues of context, history and convention (11)’ ” (Munday 192).<br /> <br /> C.Lefevere: Rewriting and Manipulation<br /> <br /> Furthermore, “Lefevere focuses particularly on the examination of ‘very concrete factors’ that systemically govern the reception, acceptance or rejection of literary texts; that is, ‘issues such as power, ideology, institution and manipulation (2)’ . The people involved in such power positions are the ones Lefevere sees as ‘rewriting’ literature and governing its consumption by the general public. The motivation for such rewriting can be ideological (conforming to or rebelling against the dominant ideology) or poetological (conforming to or rebelling against the dominant/preferred poetics)” (Munday 194). And translation is the most obviously recognizable type of rewriting (Lefevere 9). <br /> <br /> Translator’s view on translation, for example, reflecting the translators’ ideology, can conform to or rebel against the social dominant ideology. <br /> For Lefevere, the literary system in which translation functions is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology.<br /> The “professionals within the literary system” include translators themselves, who decide on the poetics and at times influence the ideology of the translated text (Munday 194).<br /> <br /> Thus, the role of translator is essential and the translator’s ideology have an great influence on the translation text and the text reader. <br /> “For Lefevere, the most important consideration is the ideological one. In this case, it refers to the translator’s ideology or the ideology imposed upon the translator by patronage. The poetological consideration refers to the dominant poetics in the TL culture. Together, ideology and poetics dictate the translation strategy and the solution to specific problems” (Munday 197). <br /> <br /> D.Venuti<br /> <br /> Then Venuti insists that the scope of translation studies needs to be broadened to take account of the value-driven nature of the sociocultural framework.<br /> <br /> “Norms may be in the first instance linguistic or literary, but they will also include a diverse range of domestic values, beliefs, and social representations which carry ideological force in serving the interests of specific groups. And they are always housed in the social institutions where translations are produced and enlisted in cultural and political agendas” (29). <br /> <br /> Munday suggests, the groups and social institutions to which Venuti refers would include the various players in the publishing industry as a whole . . . Each of these players has a particular position and role within the dominant cultural and political agendas of their time and place. The translators themselves are part of that culture, which they can either accept or rebel against (217). <br /> <br /> Therefore, being part of the culture, translators are influenced by the social and patronage ideology, and the poetics. Nevertheless, translators more or less enjoys some autonomy. For example, translators’ views on translation, i.e. the understanding of translation, can be conformed to or rebellious against the culture. And then their views on translation, influence their specific translation behavior such as the works they choose to translate and their translation principles. Next are three examples for us to discuss how the translators’ views on translation immediately influence their translation behaviors. <br /> <br /> To narrow the differences of the social ideology down, three translators in modern period of China (after 1949) will be discussed in this thesis. However, because they are born in different climate and stage of the society, no doubt that they have distinctive world outlook from each other, resulting in their distinctive views on translation. But focus will still be on the influence exerted by their views on their translation behavior. <br /> <br /> II.Three Examples in Modern Period of China<br /> <br /> A.Xu Yuanchong (1921-): Translation is translators’ responsibility. <br /> <br /> For Xu Yuanchong, Chinese translators have a responsibility to translate the foreign masterpieces into Chinese and Chinese excellent works of literature into foreign languages, in order to introduce the advanced ideas to China and also bring the foreigners the splendid culture of China, during which the world will be more culturally rich and diversely civilized.<br /> <br /> In this case, Xu Yuanchong further puts forward that the histories and evolution of the two cultures are very different from each other, with distinct advantages and disadvantages If they can learn the strong points from each other to offset their weakness, they can both be improved. In this respect, translation can be considered as a rivalry between two different cultures. The translation can even surpass the original work. If we make full use of the advantages of one culture to perfect another , the culture of all the humanity will be developed. This is the ultimate goal of the translator (“Surpass” 47). Based on this view, Xu Yuanchong proposed the Rivalry Theory and the Theory of Advantage.<br /> <br /> Therefore, in order to exchange the advantages between cultures, the foreign works Xu Yuanchong had translated are some western masterpieces includes: ''Madame Bovary'', ''Le Rouge et le Noir'', ''Jean Christophe'', etc. And also some Chinese classical works especially the classical Chinese poetry: ''150 Tang Poems'', ''100 Tang and Song Poems'', ''300 Poems Chinois Classiques'', ''Selected Poems of Mao Zedong'', ''The Romance of Western Bower'', ''Earth-shaking Songs'' (the selected poems written by Chinese modern revolutionists), etc. By translating the essence of one culture and ideology into another languages, he demonstrates our advantages and at the same time offers Chinese people the opportunities to enjoy the classics of another culture.<br /> <br /> Xu Yuanchong’s view on translation also influences his translation principles. Take the first sentence of ''Jean Christophe'' as an example:<br /> <br /> Le grondement du fleuve monte derrére la maison. (Jean Christophe)<br /> <br /> From behind the house rises the murmuring of the river. (English)<br /> <br /> 江声浩荡，自屋后上升。(Fu Lei)<br /> <br /> 江流滚滚，声震屋后。(Xu Yuanchong)<br /> <br /> The french word “grondement” means “roaring” or “murmuring” in English. The English translation seems to be coherent in the paragraph and the following content. However, as to the whole work, Xu Yuanchong considers that “浩荡” in Fu Lei’s translation is more powerful and symbolic of the spectacular river cutting through Europe, and some readers even take Fu Lei’s translation as “the classical opening sentence” of the work, which proves it a translation that surpasses the original one.<br /> <br /> And then Xu Yuanchong also translated this sentence (as above), replacing “浩荡” with “滚滚” for its more similar sound to “grondement”. And “声震屋后” is also a symbol of the impact of the great achievement of the musician in the work (Yang et.al 35-38). Here appears another translation principle of Xu Yuanchong: “literary translation is art (''Art 20'')” and “beauty in three aspects”, namely, “beauty in sense, beauty in sound and beauty in form”, having developed Lu Xun as well as Lin Yutang’s theory of beauty. This is the reason why Xu Yuanchong emphasizes the similar sound of “滚滚” to “grondement”. Another example is still a sentence in ''Jean Christophe'': <br /> <br /> Il marchait sur le monde. (''Jean Christophe'')<br /> <br /> 他踏着全世界直立着。（鲁迅）<br /> <br /> 他顶天立地的在世界上走着。（傅雷）<br /> <br /> (qtd. “Re-creation” 222)<br /> <br /> Which translation corresponds to the original best? Lu Xun’s translation is similar in from while Fu Lei’s is in style. In this case, Xu Yuanchong considers there is one solution, that is to change the question as “Which translation is more beautiful and delightful for readers?” He also quotes “Qu’ importe celui qui crée? Il’y a de réel que ce qu’on crée” said by Romain Rolland to indicate that the translator ought to make the translation more of art to give readers an enjoyment of beauty rather than to captiously keep the author’s style. So he is in favor of Fu Lei’s translation.<br /> <br /> The last example goes to the translation of the last sentence of ''Uprising Songs'' (《起义歌》) written by Sun Zhongshan, collected in ''Earth-shaking Songs'':<br /> <br /> 顶天立地奇男子，要把乾坤扭转过来。(''Uprising Songs'')<br /> <br /> Heroes of indomitable spirit, arise! <br /> <br /> Let us transform the old world and reverse the tide! (previous translation)<br /> <br /> Heroes who would move heaven and earth, arise! (Xu Yuanchong)<br /> <br /> Xu Yuanchong suggests that in the previous translation, translating “顶天立地” only into “indomitable spirit” is in want of the image of “天” and “地”. Also, as it were, the readers cannot enjoy the beauty of the SL, which is thus a failure in the rivalry of two cultures. So he translated the sentence as above, keeping the impression of “天地” to have the readers appreciate the beauty of the original work, in other words, to win the rivalry between the ST and TT (“Re-creation” 221-222). <br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized. The translation not only should be faithful to the original, but also be powerful and infectious to readers, even giving an much more profound impression than the original work.<br /> <br /> B.Liu Zhongde (1914-): Translation is a way to make foreign masterpieces to serve China. <br /> <br /> In order to make the western masterpieces more popular in China, Liu Zhongde decided to devote himself to a career in translation. By translating the western works into Chinese, as far as he concerns, the advanced thoughts can serve Chinese intellectuals and further improve the whole country. He was the first person who introduced Jane Austin’s ''Emma'' to China. But he were not satisfied with his first translation of ''Emma'' and at last in 1990s he re-translated it and corrected the errors he had made, which reflected his spirit of improving himself constantly and his rigorous scholarship (Ten 178 ).<br /> <br /> Thus, most works Liu Zhongde translated were the western classics such as ''Uncle Tom’s Cabin'', ''Confessions of an English Opium-Eater'', ''Emma'', ''Darwin'', etc. He seldom translated Chinese works into English. <br /> <br /> In order to convey to the Chinese readers the exact ideas and original style and content of the ST, Liu Zhongde puts much emphasis on the “closeness” of the translation. He says the translator should always remember what he is working at is a literacy work written by somebody else and try his utmost to turn his translation into a work of art which is in conformity with the thought, feeling and style of the original. Thus, the translation will be as moving and vivid as the original work and the reader may be aesthetically entertained as well (''Ten'' 122-123). <br /> <br /> Therefore he developed from Yan Fu’s three principles－“信达雅 (faithfulness, expressiveness and elegance)” into “信达切 (faithfulness, expressiveness and closeness)” as a set of principles for translation reference: “The style of your translation must correspond, or at least, be close, to that of the original you are working at . . . the ideological content, linguistic expression and stylistic characteristics of a literary work constitute a unified entity, and the translator should reproduce the three elements as a whole” (''Ten'' 122). <br /> <br /> Being different from Xuyuanchong, Liu Zhongde holds that “literary translation has a double nature. That’s to say, on the one hand, it is a science with its own laws and methods and on the other, it is an art” (''Ten'' 2).<br /> <br /> So how exactly does Liu Zhongde’s views on translation influence his translation principles? There are two examples as follows.<br /> <br /> Here is a translation of “回乡偶书” by Liu Zhongde:<br /> <br /> 回乡偶书 <br /> 少小离家老大回，乡音无改鬓毛衰。<br /> 儿童相见不相识，笑问客从何处来。<br /> (the original poem)<br /> <br /> Homecoming<br /> I left home quite young, and I come back very old.<br /> My accent remains the same, but my hair turns gray.<br /> Kids don’t know me when one another we behold.<br /> “Where do you come from?” with a smile to me they say.<br /> (Liu Zhongde’s translation)<br /> <br /> This translation adapts so well the style and features of TT to the ST that it seems to be an original work written by Liu Zhongde himself. We can appreciate the same meaning and emotion the original work expresses. The TT keeps the the same number of lines just as the ST: each of the sentence has 12 syllables. The rhyme pattern of ST is also kept: the first line rhymes with the third, and the second with the forth. The TT is exactly an expression of sound, form and sense of the ST (Jiang 196-197).<br /> <br /> The next two examples are from Liu Zhongde’s re-translation of ''Emma'':<br /> <br /> (1)The truth is, Harriet, that my playing is Just good enough to be praised, but Jane Fairfax’s is much beyond it.<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却是神乎其技了。(Previous translation)<br /> <br /> 事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却大大超过我的弹奏。(Liu Zhongde)<br /> <br /> “神乎其技” in the previous translation does not correspond to the plain style of “much beyond it” in ST. It is true that a Chinese four-character-word can embody a complex meaning, but the style it can be applied to is supposed to be formal and academic. In this sentence, the style of “神乎其技” is not appropriate at all, while a simpler word should be used. Thus Liu Zhongde replaced “神乎其技” with “大大超过我的弹奏”.<br /> <br /> (2)“Just as they always do-very vulgar.”<br /> <br /> 还不是像他们平常那样——俗不可耐。(Previous translation)<br /> <br /> 还不是像他们平常那样——很庸俗。(Liu Zhongde) <br /> <br /> (Jiang 278-279)<br /> <br /> The four-character-word “俗不可耐” in the previous translation does not conform to the plain or colloquial style of ST, either, just like “神乎其技” mentioned above. Liu Zhongde changed it into “庸俗” to be in line with the original style. <br /> <br /> For Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected by him and the “closeness” in translation is underlined to convey the closet meaning and style of the original. <br /> <br /> C.Li Jihong (1980-): Translation after all is one of the material production activities of human beings.<br /> <br /> As to Li Jihong, translation after all is one of the material production activities of human beings. In an article called “The Literary Translation Should Keep Pace with the Times: The Translation Speed and Pay” against the view of another translator, Shi Kangqiang, he says that the pay of translation in the new period is different from that of the old times, mainly because of the translation tools which belonging to the production tools, have already been developed today into computers, digital data, Internet, etc. As a result, the translation speed is supposed to be improved. Therefore, a professional translator nowadays can definitely earn a decent life by translating 1000 words each hour, 8 hours a day. And for every 1000 words they can earn 60 ''yuan''.<br /> <br /> The article aims to oppose to Shi Kangqiang’s opinion that the appalling pay translators receive influence the quality of the translation, but it also reveals Li Lihong’s view on translation from his borrowing lots of economic theories and activities, numbers, calculation of the pay to support his opinion, his favors to the publishers’ increasing reward on the sales of the translation work and his announcement that he have translated ''The Kite Runner'' (written by Khaled Hosseini), 195190 words, for only 10 days, 15 hours a day.<br /> <br /> In this article he also says: “Any responsible translators will not translate for the personal income,” but he adds next, “ In fact, the support for his translation is the letters from readers, in addition to the high income.” Although the total contradiction in his saying is confusing, it still can be inferred that money is an important motivation for his translation, if not the most important one. <br /> <br /> The works Li Jihong translated are foreign classics such as ''Le Petit Prince'', ''The Old Man and the Sea'', ''Animal Farm'', ''The Great Gatsby'', ''Walden'', ''The Moon and Sixpence'', ''Pride and Prejudice'' and ''The Sound and Fury''. However, all those works and the values of them have already been well received in China, with several translations in market. <br /> <br /> To begin with the work that he have translated “for only 10 days, 15 hours a day” as he says, ''The Kite Runner'' written by Khaled Hosseini:<br /> <br /> (1)We left the old man on the steps of that building. I meant to take him up on his offer, come back and see if he’d unearthed any more stories about my mother. But I never saw him again (Hosseini 251).<br /> <br /> 我们离开了坐在那座房子台阶上的老人。我原想带他到他的办公室去，看看他能否想起更多关于我妈妈的事情。但我再也没有见到他 (Li 243)。<br /> <br /> In this text, “take somebody. up on something” means “to accept an offer, an invitation that somebody has made 接受（提议或邀请）” in ''Phrasal Verbs Dictionary'' (438). Also according to the whole context, the old man, a beggar, had been a colleague of “my” mother who I had never met. He told me a story about “my” mother and promised me more details about her: “ The old man smiled. ‘I’ll try to remember and that’s a promise. Come back and find me ’ (Hosseini 250).” It can be inferred that the old man offered the narrator a chance to know more about his mother. Thus, the “offer” means “邀请” instead of “办公室 (office)”. What’s more, It seems like the word “offer” is misread as “office” by the translator. Perhaps the translator is too busy translating as fast as possible to check his translation carefully.<br /> <br /> (2)“Your job today is to pass gas. You do that and we can start feeding you liquids. No fart, no food.” He laughed again (Hosseini 297). <br /> <br /> “你今天的工作是排便。你完成之后我们才能开始喂你吃流食。不见粪便，不给食物。”他又哈哈大笑 (Li 287)。<br /> <br /> The speaker was a staff in hospital, and he was asking the patient who had just come to himself from a surgery “to pass gas”. The relevant meaning of “gas” in ''The New Oxford Illustrated English-Chinese Dictionary'' is “[物理]气体、瓦斯” (726), of “pass” is “通过” (1338). And “fart” as a noun means “放屁 (emit wind from the anus)” (632). In conclusion, “排便” does not correspond to the original meaning of the ST. So the translation can be righted as “你今天的工作是排气。你完成之后我们才能开始喂你吃流食。不放屁，不给食物。” This is also a very small and simple mistake. The translator should be more cautious about translating.<br /> This summer holiday I have read another book translated by Li Jihong: The Moon and Sixpence written by William Somerset Maugham, and also find some odd translation and neglect. Here are two examples:<br /> <br /> (1)“Do you think it’s likely that a man will do any good when he starts at your age? Most men begin painting at eighteen.”<br /> <br /> “I can learn quicker than I could when I was eighteen (Mauguam 48).” <br /> <br /> 你认为一个人从你这个年纪开始学画能学得好吗？大多数人从十八岁就开始画了。”<br /> <br /> “如果我今年十八岁，我可以学得快一些 (Li 54)。” <br /> <br /> The second sentence, a very simple one, means that even if “I” am old now, I can learn even quicker than I could when I was at eighteen. In Chinese it can be translated as, for instance, “我能比我十八岁的时候学得还快.” But Li’s translation “如果我今年十八岁，我可以学得快一些” means “I can learn quicker if I were eighteen,” which has a totally different meaning from the ST. <br /> <br /> (2)...for they felt themselves freemen of a country whose frontiers include them all, the great country of Cockaigne (Mauguam 169).<br /> <br /> 因为他们觉得大家都是自由民，同属于想象中的天堂之国 (Li 203)。<br /> <br /> According to Encyclopedia Britannica, “Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand. References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone. Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna.” Being ignorant of the rich meaning of this word, Li Jihong translated it to “天堂之国” without any explanation. In fact, in this book, Li Jihong adds 206 explanatory notes for the words like “Shakespeare (莎士比亚)”, “Balzac (巴尔扎克)” and “Footnote (生丁)”, however, “Cockaigne” is not included. <br /> <br /> Li Jihong’s translation is popular for his elaborate introduction of the work and explanatory notes, which as he says, can help readers to understand the work easier. And some famous people also recommend his translations for his translation is more understandable than others. However, as far as I am concerned, being understandable is not the essence of a translation. <br /> <br /> From Xu Yuanchong and Liu Zhongde we know there are various translation principles, for instance the former’s “beauty in three aspects: sense, sound and form” and the latter’s “faithfulness, expressiveness and closeness”, nevertheless, the “faithfulness” to the original is emphasized. <br /> <br /> III.Conclusion<br /> <br /> This is how the views of translation influence the translators’ behavior, specifically the translation work choosing and their translation principles demonstrated by the translation examples of the three translators.<br /> <br /> For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized; while for Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected and the “closeness” in translation is underlined to convey the closet meaning and style of the original. In fact, for both of them translation should be a responsibility that should be treated serious by translators, while as for Li Jihong, translation is just a production activity, a tool to make money or to gain the population, fame and the sense of superiority. Therefore, the economic effect and the speed is highlighted, the minor mistakes were made, and the translator’s personality was manifested so much that it even overshadowed the style and meaning of the original work. <br /> <br /> For those responsible translators, their translations, imprinted all their individual ideology, experience and reflection, almost like an original work, are supposed to be a special thing. As Thomas C. Foster puts at the end of his How to Read Literature Like a Professor, “My favorite was the apology to the poem itself: ‘Well, little book, you’re not that much but you’re the best I could make you. Now you’ll just have to make your way in the world as best you can. Fare thee well.’” (129), a lot of care and attachment will be taken to the work you made, whatever it is, a poem, a fiction or a translation work. Only if you devote yourself to the translation with painstaking effort, can the translation be respected and appreciated by your readers.<br /> <br /> Fu Lei had ever said, “translation should be based on the knowledge of art: without a sensitive soul, earnest sympathy, appropriate appreciation, relative social experience or sufficient common sense (i.e. broad knowledge), a translator neither will understand the original work thoroughly nor grasp the essence of it” (qtd. Xu Jun 253). Because that translators’ views on translation have a great influence on his translation, he should first be earnest to “translation”, and then be diligent, especially when the translation work is carrying the weight of the original work. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.<br /> <br /> '''Work Cited'''<br /> <br /> 胡塞尼· 卡勒德. (Hosseini, Khaled). 《追风筝的人》 (''The Kite Runner''). 李继宏译 (Tran. Li Jihong). 上海: 上海人民出版社, 2008. <br /> <br /> 蒋坚松 (Jiang Jiansong) 彭利元 (Peng Liyuan), ed. 《刘重德翻译思想及其他》(''Liu Zhongde’s Tanslation Theories and Others''). 长沙(Changsha): 湖南师范大学出版社 (Hunan Normal University Press), 2003. Print.<br /> <br /> 李继宏 (Li Jihong), 《文学翻译也需与时俱进：谈谈翻译速度和稿酬问题》 (“The Literary Translation Should Keep Pace With the Times: The Translation Speed and Pay”). 豆瓣网 (douban). 13 Jan. 2013 &lt;https://site.douban.com/179084/widget/articles/10191245/article/23864139/?dt_dapp=1&gt; <br /> <br /> 刘重德 (Liu Zhongde), ed.《文学翻译十讲》(''Ten Lectures on Literary Translation''). 北京(Beijing): 中国对外翻译出版社 (China Duiwai Translation Press), 2000. Print.<br /> <br /> 毛姆·威廉. (Maugham, William). 《月亮和六便士》 (''The Moon an Sixpence'').李继宏译 (Trans. Li Jihong). 天津 (Tianjin): 天津人民出版社 (Tianjin Renmin Press), 2018. Print. <br /> <br /> 许钧. (Xu Jun).《翻译论》(''Translation Theory''). 武汉 (Wuhan)： 湖北教育出版社 (Hubei Education Press), 2003. Print. <br /> <br /> 许渊冲. (Xu Yuanchong). 《译文能否胜过原文》(“Can the Translation Surpass the Original”). 《教学研究》(''Teaching Method Research''), no. 2 (1982): 39-47.<br /> ---. ed.《再创作与翻译风格》(“Re-creation and Translation Style”). 《文学与翻译》 (''Literature and Translation''). 北京 (Beijing)：北京大学出版社 (Beijing University Press), 2016. 221-229. Print.<br /> <br /> ---.《翻译的艺术》(''The Art of Translation''). 北京 (Beijing): 五洲传播出版社 (Wuzhou Chuanbo Press), 2006. Print.<br /> <br /> 杨绛(Yang Jiang), 李文俊 (Li Wenjun, et al.) 等. 《一本书和一个世界》(''A Book and A World''). 北京 (Beijing): 昆仑出版社 (Kun Lun Press), 2005: 35-38. Print.<br /> 周领顺. (Zhou Lingshun). 《译者行为批评：理论框架》(''A Theoretical Framework for Translator Behavior Criticism''). 北京 (Beijing)：商务印书馆 (The Commercial Press), 2014. Print.<br /> <br /> Bassnett, S. and A. Lefevere. ''Translation History and Culture''. London and New York: Pinter, 1990. Print.<br /> <br /> Cockaigne. ''Encyclopedia Britannica''. 27 Jun. 2013. Web. 17 Nov. 2019 &lt;https://www.britannica.com/topic/Cockaigne &gt;<br /> <br /> Even-Zohar, Itamar. The position of translated literature within the literary polysystem. ''Papers in Historical Poetics''. Tel Aviv: The Porter Institute, 1978. 21-7. Print.<br /> <br /> Fart. ''The New Oxford Illustrated English-Chinese Dictionary''. Beijing: Renmin University of China, 2004. Print. <br /> <br /> Foster. C. Thomas. ''How to Read Literature Like a Professor''. New York: HarperCollins Publishers Inc. 2003. Print. <br /> <br /> Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print. <br /> <br /> Lefevere, A. ''Translation, Rewriting and the Manipulation of Literary Fame''. London and New York: Routledge, 1992a. Print.<br /> <br /> Maugham, William. ''The Moon an Sixpence''. London: Pan Books Ltd, 1974. Print.<br /> <br /> Munday, Jeremy. ''Introducing Translation Studies''. New York: Routledge, 2012. Print.<br /> <br /> Take sb. up on sth.” ''Phrasal Verbs Dictionary''. 2013. Beijing: Foreign Language Teaching and Research Publishing Co., Ltd, 2017. Print.<br /> <br /> Venuti. L. The Scandals of Translation: ''Towards an Ethics of Difference''. London and New York: Routledge, 1998. Print.<br /> <br /> =Contemporary Translation Studies=<br /> =='''An Analysis of the Book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications'''''==<br /> <br /> '''摘要：'''爱德温·根茨勒的《当代翻译理论》和杰米里·芒迪的《介绍翻译理论：理论与实践》被视为翻译史上不可多得的巨作。本文通过对两本巨著的介绍之后，节选了其中有名的翻译理论即尤金·奈达的形式对等理论和功能对等理论以及亚历山大 弗雷泽·泰特勒和严复的翻译原则进行比较，来阐述了翻译的基本准则。通过对比尤金·奈达的形式对等和功能对等理论，找出其优缺点并结合适当的例子，有利于读者把握奈达的翻译思想来更好地指导其翻译实践。同时，通过分析亚历山大 弗雷泽·泰特勒的翻译原则的优缺点再将其与严复的翻译理论做比较，有利于读者理解中西方翻译的差异，来更好地理解在跨文化的语境中如何做好翻译。<br /> <br /> '''关键词：'''爱德温·根茨勒、《当代翻译理论》、杰米里·芒迪、《介绍翻译理论：理论与实践》、尤金·奈达、形式对等、功能对等、亚历山大·弗雷泽·泰特勒、严复、翻译原则 <br /> <br /> '''Abstract:''' ''Edwin'' Gentzler’s ''Contemporary Translation Theories'' and Jeremy Munday’s ''Introducing Translation studies: Theories and Applications'' are both regarded as the masterpieces in the discipline of translation. After giving a brief introduction of these two great works, this paper tends to select the famous translation theories from the book namely Eugene Nida’s formal equivalence and functional equivalence and the translation principles of Alexander Fraser Tytler and Yan Fu to define the basic principles of translation. After analyzing the Nida’s theories of formal equivalence and functional equivalence, it is better for the readers to understand the Nida’s translation ideas to better guide him in the translation practice by combining the concrete examples to illustrate its advantages and disadvantages. In the meantime, by analyzing the advantages and disadvantages of Tytler’s translation principles and the comparison between the translation principles of Tytler and Yan Fu, it’s better for the readers to understand the influence of difference in the eastern and western cultures on translation. In such a way, it’s better for the translators to do the translation practice in the cross-cultural situation.<br /> <br /> '''Key words:''' ''Edwin'' Gentzler; ''Contemporary Translation Theories''; Jeremy Munday; ''Introducing Translation Studies: Theories and Applications''; Eugene Nida; Formal Equivalence; Functional Equivalence; Alexander Fraser Tytler; Yan Fu; Translation Principles<br /> <br /> '''Introduction:'''<br /> <br /> In this essay, it presents the author’s understanding of the two books: ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''. After a brief introduction of these two books, this paper tends to concentrate on the discussion of four important translation theories. This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. Secondly, it will give a short introduction of the book ''Introducing Translation Studies: Theories and Applications'' and it will fix its attention on the translation principles of Tytler and then make a comparison of Yan Fu’s translation principle “Faithfulness, expressiveness and elegance”. By deeper analyzing these two similar translation theories, we can find some commonness and difference in these two translation theories by taking the culture and thinking modes into consideration. At last, this paper intend to give a brief comparison between these two great books by taking the consideration of writing style and content arrangement. All in all, this paper intends to give the readers a better understanding of these two great books and provoke their reflection about these two books.<br /> <br /> <br /> '''I Analysis of the book ''Contemporary Translation Theories'''''<br /> <br /> Recently, it is a great pleasure to read a very famous book called ''Contemporary Translation Theories'' whose author is called Edwin Gentzler. The second edition of this book has received great success. The publication of this book is significant to the global translation study academia. “Since the mid-19th century, translation theory has maderapid progress, Edwin Gentzler finds out what is useful and rejects what is useless on the translation of today's theories in this book”(Li 2014:111). He also makes a Detailed description in detail several major schools of translation:The North American Translation Workshop, the “Science” of Translation, Early Translation Studies, the Polysystem Translation and Deconstruction. In this book, it presents what is happening in different parts within the discipline. “Gentzler uses his provoke thinking viewpoint to trace the development of literary translation studies from the American translation workshop program, through the polysystems research to deconstruction and postcolonial translation theory and beyond”(Xu and Wang 2000:42). This book not only provides us with a deep way of theorizing the translation but also is effectively a translation practice . At the end of this book, he also points out the future of translation and sends his positive attitude about the translation’s future. The author turns a whole number of the complex theoretical material into accessible language, so that everyone who doesn’t read any books about translation can read this book freely. Apart from that, each chapter in this book is separated so you can read each chapter alone without relying on your understanding of the other chapters. By this way, it is more convenient for us to find the topic of translation that we are interested in to read and find valuable informationfor us. Gentzler’s book provides us with a precise analysis about what the translation school achieved so far and gives his insight into the future of translation. <br /> <br /> “This book stands as a continuing translation textbook with some of the most important theories in the field such as “the same aesthetic experience, dynamic equivalence, corresponding literary function, or the deconstruction theory of Derrida”(Li 2014:112). Despite distinct focus, each theory is completed by a conceptual framework that thinks original existence and an understanding of it in the target society. At present, “all translation theories have kept rigid distinction between original texts and their translations text”(Xu and Wang 2000:43). <br /> <br /> In the chapter 2, this book introduces the American translation workshop. In this chapter, it mainly introduces the A. Richard’s new criticism and translation, Ezra Pound’s theory of luminous details, Frederic Will’s the paradox of translation and Lawrence Venuti’s rethinking translation. In it workshop, “it emphasizes that translation is a marginal activity, not considered as a proper field of study”(Gentzler 2001:5). However, as time goes by, the process of growth and acceptance of translation boost when many translation courses and workshops were being offered at many universities. There appears many works about this translation workshop but it does not have many books about the translation theories. “In this workshop, the personal opinions may offer some help, but it still lacks the consistent theory to support translation”(Gentzler 2001:44). Therefore, it needs urgently a classified theory for the translation and it yields the coming of the “science” of translation. In this book, it mainly introduces Eugene Nida’s formal equivalence and dynamic equivalence and Noam Chomsky’s syntactic structure and generative-transformation grammar. Here, it will illustrate my understanding of these two concepts about formal equivalence and dynamic equivalence. Edwin Gentzler illustrated the concept of dynamic equivalence in his book ''Contemporary Translation Theories'', ''Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. The relationship between the target language receptor and the target text should generally be equivalent to that between the source language receptor and the source text''(2001:48). <br /> <br /> In the dynamic equivalence, Nida focus on the correspondence of the feeling between the target language and the receptor and the source language and the learner. By his understanding, these two feeling should be the similar. More specifically, “dynamic equivalence considers more about the relationship between the reader and the information, which means that the target reader's response to the target text should be the same as that of the source reader's response to the source text”(Liu 2012:242). “Any foreignness and translationese should be avoided in the target text”(Ju 2000:203). Now, it will <br /> list the advantages of dynamic equivalence. <br /> <br /> “On the one hand, the dynamic equivalence is “somewhat like the free translationwhich emphasizes the translation should achieve the same effect instead of being limitedin the content and form” (Li 2014:112). “It concentrates on the correct way of translating the content of the original text”(Shakernia 2013:2). On the other hand, “it focuses on readers' reaction and analyzes the translation process from the viewpoint of target readers”(Nida 1995:225). In this way, translation is not a single activity, but more social elements are added to make the translation concrete and specific. Moreover, in the dynamic equivalence, due to its classified translation principle it is more suitable to the translation of technology and science essays. The dynamic equivalence provides us a <br /> detailed rule of translation during our process of translation so when we translate, we can find the reasonable principles to rely on. These essays should be more formal and official.<br /> <br /> However, although the dynamic equivalence has gained a lot of praises it still deserves some limitations. Firstly, “it is just a language conversion and ignores the cultural information taken by the language, resulting in cultural domestication”(Liu 2012: 245). In fact, cultural differences are objective and can not be inevitable, and no one can avoid them. If you have to maintain a dynamic equivalent translation, it will definitely have a negative impact on cultural communication. For example, “‘dongfeng’ is a positive image in Chinese culture while in western society it thinks the west wind is goodmorality”( Shakerni 2013:2) Therefore, it is strange that Shelley's singing of the west wind is translated into &quot;ode to the east wind&quot;, because it will hinder the Chinese readers' understanding of the western world. What's more, to judge whether the target readers have similar effects is uncertain and unpractical because they are different in gender, age,educational background and life experience, etc. Strictly speaking, the reader's response is a variable that cannot be regarded as equivalent to the standard effect. Finally, dynamicequivalence information in the text does well, just like the Bible, but it is difficult to realize literary translation, text language is different from general language. Dynamic equivalence, as a concept, puts an .an overly narrow focus on the response of the active hearers, perhaps sometimes at the expense of other factors which are also crucial to adequate translation, such as the accuracy of the message, the uniqueness of the original historical setting. <br /> <br /> Next, it will list the definition of formal equivalence. “Formal equivalence is simple and source-oriented. It is like a word for word literal translation”(Shakernia 2013:2). Formal equivalence concentrates on the message itself, in both form and content. “One is concerned that the message in the receptor language should match asclosely as possible the different elements in the source language”(Shakernia 2013:3).The use of formal equivalents might at times have serious implications in the target text since the translation will not be easily understood by the target readership. For example, “in the translation of the sentence of greet others with a holy kiss, these two different equivalence can have distinctly different translation”(Shakernia 2013:3). In the formal equivalence translation, we need to translate it into the translation of saying hello to others with a holly kiss. But it seems strange to others because what’s the meaning of holy kiss. Then, we need to add one explanation of holy kiss which is in the ''old testament'' the holly kiss is usually treated as a usual way to greet others. However, in the dynamic equivalence, we need not to take the correspondence of the structure into consideration. We only need to pay attention to the reaction of receptorsof language. We can translate it into the translation of shaking hands with others enthusiastically. From the above example, it’s clear to find the focus of these two equivalences is very different therefore the translation can be different. <br /> <br /> Here, it will try to figure out the advantages and disadvantages of formal equivalence. One of the most distinguished advantage of the formal equivalence is that in this translation, “the formal equivalence is keenly oriented towards the source language structure, which exerts strong language influence in determining accuracy and Correctness”(Nida 1995:223). Because the formal equivalence emphasizes the completetranscript of the original text’s content and form so it will have the consistent structure of the original text.Another advantage of formal equivalence is that it put much focus on the accuracy.Because in such translation theory, the target language will try to find a equivalent in the source language. For example, in the sentence of “Please fetch me a glass of water” when translating it into Chinese, we will try to find each word equivalent in Chinese. We will try to find each word such as “please”“fetch”“me” and so on. Then we can find the equivalent in Chinese which can be transliterated into Chinese as “Qing gei wo yi bei shui”. Apart from that, let’s move on to the disadvantages of formal equivalence. One of the obvious disadvantage of the formal equivalence is that sometimes it will neglect the intent of the original text. Because the formal equivalence isreferred as to the literal translation and in such way it may overlook the author’s intent. For example, we often hear Chinese people say:“Ni chi le ma?” In fact, it’s a way to greetpeople in Chinese custom while we cannot translate it into English as “Have you eat your dinner or lunch?”. Instead we should translate it into English as “Hello!”or “Hi!” <br /> <br /> Among these two theories, Nida puts the dynamic equivalence in the first place. It has been viewed as his core contribution to the modern translation filed. “Nida pays attention to readers' response and advocates replacing the expression of foreign culture in the original text with the expression habit of the receiving language, namely, domestication”(Nida 1995:224). By far, “Nida has achieved a lot in translation study. He simplifies Chomsky’s theory and adopts only the later two part of the model in order to validate his science”(Gentzler 2001:52). “He is aware of the nature of a practice-oriented approach, attempts to scientifically validate his methodology and apply it to translation as a whole” (Panou 2013: 1) . In this chapter, it also talks about Noam Chomsky’s contribution to the linguistic and translation. In Chomsky’s opinion, the linguistic is a study of science and we can apply many linguistic principles to translation, therefore, the translation can also be said a study of science. Among the Noam Chomsky’s contribution is his transformational-generative grammar. “It is a theory that talks about why people can talk and how people can learn new sentences. It is a theory about language ability. Chomsky holds his opinion that basics and transformation form grammar” (Zhou 2019:5). The basics form deep structure and deep structure transforms to surface structure. Word’s meaning belongs to deep structure . Besides, “he thinks thatlanguage is a unique human natural constitution. Language ability should be more focused on not rather language behavior”(Zhou 2019:6). “The TG Grammar tries to reveal the unity of particular grammars and universal grammars, to explore the universal rules with the hope of revealing the human cognitive system and the essential nature of human being”(Zhu 2018:241). <br /> <br /> Both Chomsky and Nida believe that deep, coherent and unified entity exists behind whatever manifestation language takes. However, there exists some difference <br /> between their opinions. “Chomsky would not jump to conclusions based on correlations between just two languages, nor assume that a grammar to a particular to one language would work systematically for another” (Li 2011:395). While Nida holds the belief that deep structure and transformatio-nal rules which is divorced from all the problems of translation are similar across languages. All in all, these two great persons all make a big contribution to translation and their theories are still widely used today.<br /> <br /> <br /> '''II Analysis of ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> As for the second book: ''Introducing Translation Studies: Theories and Applications'' , it is a very populary book which has undergone through the fourth edition. ''Introducing Translation Studies: Theories and Applications'' remains the definitive guide to the theories and concepts that make up the field of translation studies. This fourth edition has been fully revised and continues to provide a balanced and detailed guide to the theoretical landscape. “Each theory is applied to a wide range of languages, including Bengali, Chinese, English, French, German, Italian, Punjabi, Portuguese and Spanish”(Liu and Deng 2010:54). It starts with the definition of translation and then presents us the translation theory before the twentieth century to the modern translation theory. It focus on many important translation theories such as systematic translation theory, polysystem theory translation, functional theories of translation, and so on. There are three reasons why I like this book very much. Firstly, this book is full of content which is arranged carefully and skillfully for the readers to read. It contain an introductory table clearly presenting key terms and ideas, the main text, describing in detail the models and issues under discussion, an illustrative case study, which applies and evaluates the main model of the chapter, suggestions for further reading, a brief evaluative summary of the chapter and a series of discussion and research points to stimulate further thought and research. I am extremely fond of the case study in this book which is also a unique feature of this book. In the case study, it will list a related case about the translation issue in this chapter for readers to think and then this book provide us with a discussion of case studies for us to reflect our thinking. I think it’s a good way for us to relate the knowledge of book into reality which it’s more helpful and useful for us to remember the knowledge in the book. And by applying our knowledge to the real problem in reality, it’s more helpful for us truly understand the essence of translation studies. <br /> <br /> Secondly, there are a large number of charts are cited, and the names of the charts are listed on a special page after the table of contents at the front of the book for easy reference. In this way, it is easier for readers to absorb much information contained in the charts. In the meantime, it is clear for the readers to relate the knowledge with the information in the charts. It is also a good way to sort out the large number of information in an ordered way for the readers to have a quick way to absorb the information. <br /> <br /> Thirdly, the book includes an appendix to the web sites relevant to translation studies before the final notes and index. These include two web sites that publish information about conferences, recent publications and research, six web sites for international translation journals and four web sites for translation organizations that often contain useful links. In this way, it becomes much easier for the readers to search the information on the websites for further reading and studying.<br /> <br /> Now, let’s move on to talk about the content of this book. In the second chapter, this book lists the debate about the word-for-word and sense-for-sense translation which is debate that dominated much of translation theory. “Faithful translation” is an attempt to reach a compromise between the two. Many great translators object to word-for-word translation and they advocate the sense-for-sense translation”(Munday 2013:18). For example, Cicero oppose the word-for-word translation strongly by saying “that I did not hold it necessary to render word for word, but I preserved the general style and force of the language”(Munday 2013:19). “The issues of free and literal translation were for over a thousand years with the translation of the Bible and other religious and philosophical texts”(Munday 2013:22). As for the translation of Bible, there must mention the Martin Luther whose major influence is made by his translation of the ''New Testament'' and later the ''Old Testament''. Martin Luther advocates the revolutionary nature of translation. “At that time, the Bible was only available in Europe in a Latin translation. This meant that the majority of the people had no access to the Bible in their native languages”(Stolt 2014:373). He is concerned with the German readers. “Here, he supports the idea of using of “pure, clear German and the building of new languages in translation. Therefore, he used a non-literal translation in his translation of Bible”(Stolt 2014:373). Also, his use of a regional yet socially broad dialect went a long way to reinforcing that form of the German language as standard. “His aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German”(Stolt 2014:374). And thanks to Martin Luther’s efforts of translating Bible, the Germany people now could read Bible freely. Later, the book talks about the translation principle of Dryden, Dolet and Tytler. Here it will put emphasize on the Tytler’s translation principles. As for Dolet has five translation principles while Tytler proposes his three translation rules. “They are the translation should give a complete transcript of the ideas of the original work. Secondly, the style and manner of writing should be of the same character with that of the original. Thirdly, the translation should have all the ease of the original composition.” (Munday 2013:26) Here, we can see that Tytler pursues the balance between the source language and target language. The translator must have the capacity of employing the exact manner and skill in translating his target language. For example, “there are two sentences which express the same meaning but they are different in their writing style”(Xi 2009:41). One is on Monday morning, the park is usually crowded with too many people. The other is on Monday morning, the park attracts many people. It’s obvious that the first sentence is in a negative mood while the second sentence is in a positive mood. These two sentences all convey the same meaning but they differs each other in the mood and style. To be a good translator, you need to be skillful in bringing the same style of the source language to the target language. <br /> <br /> The advantages of his translation principle are as follows. First of all, “he abandons the traditional translation idea of dichotomies and he tries not to use these controversial term such as literal translation, free translation to give his translation rules a better and clear way to present”(Bie and Huang 2007:164). Here, in his translation principles, we cannot see the mentioning of the literal translation and free translation which can cause misunderstanding in the translation studies. Secondly, “he clarifies and extends people’s understanding of the metaphor that translators are painters. In his opinion, he advocates that the job of a translator is distinct different from the painter” (Bie and Huang 2007: 166). Although the translator does not use the same color as the original, he must give his &quot;picture&quot; the same power and effect. The translator cannot copy the original style, but must use his own style to translate the perfect script. The more he studies a imitation, the less his copy will reflect the ease and spirit of the original. <br /> <br /> Now, let’s move on to talk about the disadvantages of his translation principles. Tytler’s translation thoughts are mainly on the base of his exact experience and subjective observation. “Some people even say that the book just looks like a textbook addressing the translation arts. In the meantime, from his translation theories, we can know that he imitates other translator’s theory, especially Dryden”(Firdaus 2012:285). For example, his first principle “That the translation should give a complete transcript of the ideas of the original work, which is almost same as the Campbell’s accurately reproduce the original meaning”(Firdaus 2012:286). Tytler, “points out that the three principles are in a necessary order. The order arrangement is appropriate, natural and is arranged according to their importance to the translation which cannot change casually”(Firdaus 2012:287). In this way, we can concluded that his idea that if in a case of need to sacrifice a certain principle, the translator should notice the importance of order of translation principle. The translator cannot try to get a beautiful and fluent translation at the expense of the faithful translation of the script. Tytler’s translation has exerted great influence on the later translation studies and left a big influence on the later translators such as our Chinese great translator-Yan Fu. Here, it will list the Yan Fu’s translation theories and then we can have a brief comparison between Yan Fu’s translation principles and Tytler’s translation principles. “Yan Fu is our Chinese great scholar and translator, most famous for introducing western ideas, including Darwin’s natural selection to China in the late 19th century”(Wang 2008:70). Just as Shi Chunrang and Zhao Wei proposed their opinions in their essay ''Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation'' that Yan Fu proposed three difficulties in translation: faithfulness, expressiveness and elegance in the preface to his translation of ''Evolution and Ethnic''.<br /> <br /> “Faithfulness” means the full and complete conveying or transmission of the original content or thought. It emphasizes the right way of expressing content of the original source. “Expressiveness” demands that the version must be clear and follow without any grammatical mistakes or confused logic and sense. The translation should convey freely the content of the original source. “Elegance” means that the target translation should be similar to the source text in style(2005:96).<br /> <br /> It means that the mood of the target translation should be almost same as the source language. By analyzing carefully, it’s clear to find there are many things in common between these two translation theories. <br /> <br /> Firstly, “the first principle and second principle of Tytler are the same as the saying that translation should be faithful to the source language’s content and mood which is similar to the first principle of Yan Fu that emphasizes on the full and complete conveying of the original content”(Shi and Zhao 2005:97). Secondly, these two translation theories all focus on stressing the conveying the thought and content of the source language. And the translation should be available for people to read. “These two theories all emphasize on the conveying the complete transcript of the source text”(Shi and Zhao 2005:98). <br /> <br /> It’s clear to see many differences between these two translation theories. Firstly, “they are different in thinking mode. Yan Fu does not make a clear and detailed explanation of his translation theory. Instead it relies on others’ explanation of his translation theory”(Xi 2009:41). Just as a saying, “Everything is clear without saying a word”. To better understand Yan Fu’s translation theory, we need to have the associated “relation and reflection about the great thought of our great ancestors. As we all know, “traditional Chinese mode of thinking is perceptual which tends to make the theory obscure and received. However, westerners attach great importance to rational thinking which makes the theory more concrete”(Shi and Zhao 2005:98). The thinking mode of western is putting emphasize on the rational thinking and it emphasizes one’s rational understanding of the objects and people. Also, “it concentrates on the formal explanation of the objects and people”(Shi and Zhao 2005:98). Therefore, the Tytler’s three translation principles all give respect to the object to the original text. And it repeatedly emphasizes on the importance of the original text and treat the original text as it start point. Apart from that, it also gives the literal explanation in a detailed way. In this way, after analyzing the different thinking between the western and eastern, we can say that Yan Fu do not give a literal explanation of his translation principle. Thus, we can say that his translation principle understands tacitly. <br /> <br /> Secondly,“they are distinctly different in the importance. Since the three principles of faithfulness, expressiveness and elegance are presented, the importance of them has not been clearly classified”(Shi and Zhao 2005:99). One of the most important features of Yan Fu’s translation standard is its ambiguous semantic meaning. But in fact, “Yan Fu put emphasizes on the free translation and he proposed the principle of expressiveness to support the principle of faithfulness”(Xi 2009:41). “Since during the process of translation, except adhering to the expressiveness of the original text, the principle of faithfulness is the most difficult task to finish as to the conveying the original text’s mode and style”(Xi 2009:42). Therefore, we can draw a conclusion that principle of expressiveness is vital in his three principles and then is the expressiveness and the last is elegance. We should stick to the general principle of “original meaning”, only then can we have a reasonable logic to give an order on the importance of “faithfulness, expressiveness and elegance”. “While Tytler thinks the order of his three principles is suitable, natural and could not be changed”(Wang 2008:71). Tytler proposes that we can make the conveying the faithful translation of the content at the expense to pursue the beautiful and fluent translation of the original text. “If we must give up one of principles he proposes, he advises that we can give up the least important principle namely the third principle”(Wang 2008:71). In other words, it is the first sacrifice of the original “style and effectiveness”. What's more, the style and mood of the original painting must be conveyed in order to convey a faithful picture of the sense. <br /> <br /> Thirdly, “these two translation theories are different in the aspect of value orientation. The reason of this difference is due to the difference in the academic tradition of the emphasizing on the practice and theory level of the east and west”(Wang 2008:73). As is known to all, traditional Chinese translation paid more attention to practice rather than theory. The idea of translation should guide translation practice and should be of reference value. Yan Fu's “faithfulness, expressiveness and elegance” was originally used to describe the difficulty of translation, not as a translation standard. He summed it up from his own practice and was concerned with practice rather than theory. However, western translator put practice and theory at the same level. Tytler's three principles are three levels of difficulties in detail, from the content loyal to distinct style. The reflected logical form is clear and obvious, which is significantly different from the implicit three translation principles of “faithfulness, expressiveness and elegance”. “Western translation theories focus on detailed analysis, rational abstraction and theoretical deduction, and pay attention to logical organization, hierarchy and clarity of content in language expression”(Wang 2008:73). Influenced by traditional philosophy, western translation theories have a strong sense of subject and object throughout the whole process. Taking “expressiveness” as an example, Yan Fu's “expressiveness” and Tytler's third principle “translation should have all the ease of the original composition” have roughly the same meaning, but it’s obvious that they are different in thinking mode. “The Chinese adopt a thought pattern of intuition and understanding while the Englishmen follow a thought pattern of logic and reason, which makes a profound impact on each language”(Chen 2012:126). To this extent, the difference between understanding and rational thinking, as well as the degree of respect for the original text can be best reflected. At last, “these two translation theories are distinct in their motivation. Yan Fu’s criterion is purposeful which aims to attract the elite’s attention”(Wang 2008:73). The literature works that Yan Fu translated from the western world are mainly the great and famous work in the period of western capitalism. “He fully understand this mode of thinking is difficult for the Chinese intellectuals at that time so in this way, he need to make the translation principles easier for the Chinese intellectuals to absorb”(Chen 2012:127). In this regard, he chose this way of spreading his translation ideas which makes his translation principles purposeful. While Tylter just wants to make the whole translation system more systematic and cover content, form and text these three aspects. “His aim in his translation principle is simply trying to make his translation principle known by people and suggest a reasonable translation principle for translators to follow”(Xi 2009:42). <br /> <br /> <br /> '''III Comparison between the book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''''' <br /> <br /> '''1.From the aspect of arrangement of the content'''<br /> <br /> Both of these two books all take the line of main translation workshops as its main chapter and then list its contribution to illustrate the content. “In the ''contemporary translation studies'', the author compare the translation group’s advantages and weakness and then give out his own understanding of the study of the translation group” (Li :2014 111).” In the ''Introducing Translation Studies: Theories and Applications'' , the author lists the introduction of each translation workshop’s contribution and achievement to translation” (Liu and Deng 2010:54). While these two books’ difference in arrangement is that in the book ''Introducing Translation Studies: Theories and Applications'' adds a case study to extend the readers’ inflection about the translation study listed in the book. Apart from that, this book also adds the discussion of case study, summary, further reading and discussion and research points into the book which are lack in the ''Contemporary Translation Studies''. These added parts to the book ''Introducing Translation Studies: Theories and Applications'' helps extend the readers’ personal study and help the readers relate the theoretical knowledge with the translation practices. <br /> <br /> '''2.From the content of the material'''<br /> <br /> Both of the books all list the major contribution of each translation workshop but they differ in their focus and approach. In the ''contemporary Translation Theories'', the author will “analyze the advantage and weakness of the each translation workshop and then study the interrelationship between these translation workshops and at last describe the importance of each translation theory to the world and then pose its questions to the presupposition of each translation theory”(Li 2014:111). While in the ''Introducing Translation Studies: Theories and Applications'', the author firstly gives a brief introduction of the chapter content and then illustrates the introduction of each translation workshop in a detailed way. To make the book in a more precise way, the author also lists the summary, case study, discussion of study, further reading and discussion and research points in his book to make the readers to have a more comprehensive way of the book. <br /> <br /> Apart from that, these two books all take a method of incorporating the theories and practices into the whole. In these two books, each book all include the material of theories and practices as its contents. For some important parts, the authors all give out their questions in the book. For example, in the ''Contemporary Translation Theories'', the author poses his question about Pound’s translation idea“ Was he talking about intuition, guessing the author’s original intention, or something else?(Gentzler 2001:20) After this question, the author gives out his opinions about Pound’s translation idea emphasizing the translator should both inside a tradition and outside any institutionalized logic. While this point of asking question in the ''Introducing Translation Studies: Theories and Applications'' is more obvious. At the end of each chapter, the author will give several questions in his part of discussion and research points. Some of these questions can find the answers in the textbook while some will require the readers to do some additional researches. <br /> <br /> '''Conclusion:'''<br /> <br /> All in all, after this paper’s careful introduction of these two books and detailed analyzing of the translation theories, it hopes to help the readers to have better understanding of these two books. After the deep analysis of the two theories of Nida’s translation theories and the comparison between Tytler’s three translation principles and Yan Fu’s translation rules, it’s better for the readers to understand the basic rule of translation. And also after analyzing the two big translation theories, it’s clear to draw a conclusion that to be able to be a good translator, the translator should not only be skillful in adapting to two kinds of different language and also he needs to have the solid translation practice experiences. He needs to have the complete transcript of the original text by conveying the content of the original text, but also he should imitate the style and mood of the original text. <br /> <br /> <br /> <br /> <br /> <br /> <br /> '''Works Cited'''<br /> <br /> Gentzler, Edwin. Contemporary Translation Theories. Vol. 21. Multilingual Matters, 2001.<br /> <br /> Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge, 2013.<br /> <br /> Li Jiangchun. “The comment of the second edition of the Contemporary translation theories.” Foreign Language Education. 35.1(Jan. 2014): 111-114. CNKI. Web. 1 Nov. 2019<br /> <br /> Xu Dongping and Wang Dongfeng. “Giving comment about the Edwin’s Contemporary Translation theories.” Foreign Language and Their teaching.12(2000):42-44. CNKI. Web. 1 Nov. 2019 <br /> <br /> Nida, Eugene A. “Dynamic equivalence in translating.” An Encyclopaedia of Translation: Chinese-English English-Chinese [C/Z]. Hong Kong: The Chinese University Press (1995): 223-30.<br /> <br /> Shakernia, Shabnam. “Study of Nida’s (formal and dynamic equivalence) and Newmark’s (semantic and communicative translation) translating theories on two short stories.” Merit Research Journal of Education and Review 2.1 (2013): 001-007.<br /> <br /> Liu Dayan. “Dynamic equivalence and formal correspondence in translation between Chinese and English.” International Journal of Humanities and Social Science 2.12 (2012): 242-247.<br /> <br /> Panou, Despoina. “Equivalence in translation theories: A critical evaluation.” Theory and Practice in Language Studies 3.1 (2013): 1.<br /> <br /> Miao, Ju. “The limitations of ‘equivalent effect.” Perspectives: Studies in Translatology 8.3 (2000): 197-205. CNKI. Web. 3 Nov. 2019<br /> <br /> Zhou Wenmei. “Interpreting the linguistic idea in Chomsky’s generative-transformational grammar construction.”Yinshan Academic Journal. 32.3(Jun 2019):5-10. CNKI. Web. 4 Nov. 2019<br /> <br /> Zhu Enlue. “A brief analysis of Chomsky’s generative-transformational grammar.” Overseas English. (2018):241-242. CNKI. Web. 5 Nov. 2019<br /> <br /> Li Zhiwang. “An analysis of Chomsky’s generative transformational grammar and Nida’s ideas about translation.” Journal of Inner Mongolia Agricultural University. 3(2011):394-396. CNKI. Web. 5 Nov. 2019<br /> <br /> Liu Fang and Deng Jie. “The comment of the new edition of Introducing translation studies: Theories and applications.” Contemporary Foreign Languages Studies. 4.(Apr 2010):54-58. CNKI. Web. 6 Nov. 2019<br /> <br /> Stolt Birgit “Luther’s Translation of the Bible.” Lutheran Quarterly 28.4 (2014): 373-74.<br /> <br /> Shi Chunrang, Zhao Wei. “Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation.” Foreign Language Research 5 (2005):96-100. CNKI. Web. 5 Nov. 2019<br /> <br /> Xi Yan. “ Faithfulness-Expressiveness-Elegance, Tytler's three principles and Dynamic Equivalence——New Analyses on the Differences and Similarities of the Standard of Translation and the Causes.” Journal of Cangzhou Teachers' College 3 (2009): 40-42. CNKI. Web. 8 Nov. 2019<br /> Bie Fangfang, and Huang Qin. “Dolet’s Translation Principles and Tytler’s Translation Principles: A Comparison.” Foreign Language Education 2007.0 (2007): 30. CNKI. Web. 9 Nov. 2019<br /> <br /> Firdaus, Sonia. “Evolution of translation theories and practice.” The Dialogue (2012):272-294<br /> <br /> Wang Chenjie. “A Systematic Comparison between Yan Fu's Theory of Faithfulness, Fluency, and Expressiveness and Tytler's Three General Rules of Translation.” Journal of Ningbo Institute of Education 1 (2008):70-73. CNKI. Web. 10 Nov. 2019<br /> <br /> Chen Wen,. “On Yan Fu and the Influence of the “Faithfulness, Expressiveness and Elegance.” Journal of Chongqing University of Arts and Sciences (Social Sciences Edition) 6 (2012): 125-129. CNKI. Web. 11 Nov. 2019<br /> <br /> ='''The Emergence of Translation and Interpretation'''=<br /> <br /> <br /> <br /> ==The Influence of Eugene Nida’s Translation Theory on Chinese Translation Development==<br /> &lt;center&gt;蒋凤仪 Jiang Fengyi&lt;/center&gt;<br /> <br /> '''Abstract'''<br /> <br /> '''Key words'''<br /> <br /> '''摘要'''<br /> 奈达作为一位翻译史上的重要人物，对于世界翻译进程影响重大。本文拟从其翻译思想在中国翻译界的接受和传播程度，及其翻译思想对中国翻译学者的影响，探究其翻译理论对中国翻译发展进程的影响。<br /> <br /> '''关键词'''<br /> 奈达, ...<br /> <br /> ===Introduction===<br /> <br /> 1.Eugene Nida and His Translation theories<br /> <br /> 2.The Translation Theories of Eugene Nida in China<br /> <br /> 2.1 Studies on Nida in China<br /> <br /> 2.1.1 Numbers of Papers, Books and Seminars on the Translation of Nida<br /> <br /> 2.1.2 Focuses of the Studies on Nida's Translation Theories<br /> <br /> 2.2 The influence of Nida's translation Theories on Chinese Theorists<br /> <br /> 2.2.1 The attitudes Towards Nida's Translation Theories in China<br /> <br /> 2.2.2 The Transformations of Theorists in China <br /> <br /> 3. The influence of Nida's translation Theories on Chinese Translation development<br /> <br /> 3.1 The positive influences<br /> <br /> 3.2 The problems<br /> <br /> ===Conclusion===<br /> <br /> ===Acknowledgements===<br /> <br /> ===References===<br /> <br /> ==An analysis of main factors influencing the choice of translation strategies, the example of Hongloumeng 解帆 Xie Fan==<br /> <br /> ==A Study on the History of Interpretation and the Prospect of Interpretation in China 雷旷溪 Lei Kuangxi==<br /> <br /> ===Abstract===<br /> This paper combed the 40 years of reform and opening-up in China the development course of interpreting research, introduces its experienced four stages: in the late 1970 s to 80 s &quot;bud&quot;, &quot;initial development&quot; of the 1990 s, the first decade of the 21st century &quot;new period&quot;, the second decade of the 21st century in the &quot;&quot; development&quot;. Finally, the author makes a review and analysis of the achievements and main performances of Chinese interpretation studies and comments on the current development status and future prospects of Chinese interpretation studies.<br /> <br /> ===Key Words===<br /> Interpretation, historical development, interpretation studies, development trends<br /> <br /> ===摘要=== <br /> 本文简要梳理改革开放40年来中国口译研究的发展历程，介绍其所经历的四个阶段：20世纪70年代末到80年代末的“萌芽期”、20世纪90年代的“初步发展期”、21世纪头十年的“新兴期”、21世纪第二个十年进行中的“多元发展期”。并回顾分析中国口译研究的成就和主要表现，最后就目前中国口译研究的发展现状和未来展望进行评析。<br /> <br /> ===关键词===<br /> 口译，历史发展，口译研究，发展趋势<br /> <br /> ===1.Introduction===<br /> <br /> <br /> ===2.The development and overview of The study of Interpretation in China===<br /> <br /> 2.1 The four development stages of Chinese interpretation research<br /> <br /> 2.1.1<br /> <br /> 2.1.2<br /> <br /> 2.1.3<br /> <br /> 2.1.4<br /> <br /> 2.2 Representative achievements in The study of Interpretation in China<br /> <br /> ===3.Current situation of domestic interpretation research===<br /> <br /> ===4.The development trend, characteristics and prospect of Chinese interpretation research===<br /> <br /> ===5.Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Reflections on the Development of Chinese Cultural Self-confidence in Translation from the Perspective of Chinese Translation History 郑华君 Zheng Huajun==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Four translation climaxes in Chinese translation History'''===<br /> <br /> ==='''The expression and development of Chinese cultural self-confidence in the four translation climaxes'''===<br /> <br /> ==='''The characteristics of Chinese cultural self-confidence in Chinese translation History'''===<br /> <br /> ==='''Discussion'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ===References===<br /> <br /> --[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:23, 30 October 2020 (UTC)<br /> <br /> ='''Western Translation Theories'''=<br /> <br /> <br /> ==An Analysis of the Limits of Translatability from the Perspectives of J.C. Catford and Eugene A. Nida's Translation Theories 文晓艺 Wen Xiaoyi==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 陶冶 Tao Ye==<br /> <br /> ==On Lefevere's manipulating theory 孔亚楠 Kong Yanan==<br /> ===Abstract===<br /> In 1980s, the research object of translation studies changed from text itself to culture. Cultural factors were brought into translation studies. Andre Lefevere, as the founder of cultural transformation, puts forward the famous manipulation theory and its three elements-poetics, ideology and patron. He believes that translation is not a simple change between languages, and translators' translation activities are influenced and restricted by social factors such as ideology, poetics and patronage. He points out that translation is a form of rewriting the text, and it is &quot;manipulating&quot; the original text to make it compatible with the cultural background of the target text. The main body of the thesis is divided into three parts, which explore the rewriting phenomenon caused by poetics, ideology and sponsors in translation activities by displaying different versions.<br /> <br /> ===摘要===<br /> <br /> 20世纪80年代，翻译研究的研究对象从文本本身转向文化，将文化因素纳入翻译研究之中。安德烈勒弗菲尔作为文化转换的奠基人提出了著名的操纵理论及其三要素—诗学、意识形态和赞助人。他认为翻译不是一件简单的语言间的转换，译者的翻译活动受到意识形态、诗学和赞助人等社会因素的影响和制约。他指出翻译是改写文本的一种形式，是对原文的“操纵”，使其与目的语文本所在的文化背景相容。论文主体主要分为三部分，分别通过展示不同的译本，探究诗学、意识形态和赞助人在翻译活动中造成的改写现象。<br /> <br /> '''关键词:'''Poetics; Ideology; Patronage; Manipulate<br /> <br /> ===Introduction===<br /> <br /> Before the 20th century, western translation theories mainly fell into the category of literature and art, which regarded translation as an art and emphasized the translator's creative reproduction of the original text. Until the mid-20th century, translation theorists introduced the theories and achievements of modern linguistics into translation studies, thus producing a linguistic school.Linguistic school regarded translation as a science of mutual transformation at the linguistic level, emphasizing the language equivalence between the original text and the target text. Compared with the literary school, the linguistic school has deepened translation studies and achieved fruitful results, which was beyond doubt. However, it only limited translation studies to the linguistic level, ignoring external linguistic factors such as discourse and context, which led to the fossilization of translation studies.Since the 1980s, under the influence of post-modernism and cross-cultural studies, translation studies have ushered in a &quot;cultural turn&quot;, which has gradually transformed translation studies from a linguistic perspective to a cultural perspective, and thus a cultural school of translation has emerged. The cultural school broke through the traditional text comparative study mode of literature and linguistics, and paid attention to many social factors that influenced translation under the broad cultural background, thus broadening the scope of translation studies and injecting new blood into translation studies. Manipulation school was one of the most influential schools of culture.<br /> The development of Manipulation School was based on comparative literature research, which mainly studied literary translation. The representative figures were Hermans and Lefevere. In 1978, Even Zohar put forward the theory of multiple systems which idicated that there was no primary or secondary system, but the importance was different at different stages and from different angles. Sometimes literature was in a dominant position, and sometimes it was in a secondary position.On this basis, the manipulation theory in the school of translation culture studies was formed. Hermans, a contemporary English translation theorist, published a paper entitled &quot;The Position of Translation Studies in the Multi-system of Literature&quot;, which highlighted the position of target literature, and shifted from focusing on the original text to focusing on the target text. He first applied &quot;manipulation&quot; to the study of translation theory, forming the embryonic stage of the manipulation school.In the book &quot;Manipulation of Literature: Studies of Literary Translation&quot;, Hermans gave the programmatic view of Manipulation School: Manipulation School thinks that literature is a complex dynamic system; Theoretical models and practical case studies should promote each other. The method of studying literary translation should be descriptive and systematic, and should pay attention to purpose and function; We should study the norms and limitations of the production and acceptance of translation, the relationship between translation and other text processing, the position and role of translation in a particular literary system, and the status and function in the interaction between different literatures. As Hermans said: &quot;From the perspective of the target text, all translations are manipulations of the original text for some purpose.&quot; (Hermans, 1985, 10-11)<br /> Andre Lefevere, a famous Belgian American comparative writer and translation theorist, pointed out that literary translation always came into being in a certain historical period and a certain cultural context. Because of using a different language from the original, facing a completely different readership and operating in different cultural categories, the translator, as the representative of the target culture, would be restricted by various target cultural conditions from the choice of the translation text at the beginning to the selection of translation strategies in the translation process until the acceptance of the final version. Moreover, the translator would have various considerations in translation. Therefore, it was impossible to reproduce the exactly identical translation of the original text. In this sense, translation was a rewriting of the original text and a form of creating the text. Lefevere further pointed out that literary criticism, biography, literary history, film, drama, reader's guide and so on were all rewriting the text and creating another form of text image. In other words, translation created the original author, the original text and the literary and cultural images of the original text. All rewritings, regardless of its intention, reflected certain ideology and poetics under the influence of the patronage. He thought that translation was rewriting, and rewriting was manipulation. The rewriting in different historical periods should be controlled by the ideology and main stream poetics, which was finally related to power and became a means to serve them. He believed that translation cannot truly reflect the original appearance, which was mainly manipulated by these three factors: ideology, poetics and patronage.<br /> <br /> ===Three Elements of Lefevere's manipulation Theory===<br /> <br /> <br /> '''Ideology'''<br /> <br /> Generally speaking, ideology refers to the concept system that reflects the interests and requirements of specific economic forms, specific classes or social groups, and its basic contents include people's political, legal, moral, philosophical, artistic and religious views, etc. Social ideology reflects a social group's cultural value orientation and conceptual belief system. Through observing its surroundings and its own existence, social, ideology can influence and control the activities of the whole society. In Lefevere's view, translation practice is a practice related to certain historical reality, a practice of reinterpreting the original text according to the interests of a certain social group in the new historical environment, and it is essentially a practice of culture and politics. (Fang Mengzhi, ) Manipulation school is most concerned about not how the translation should be translated, but why it is translated like this. Translations are not made in a vacuum. Translators function in a given culture at a given time. The way they understand themselves and their culture is one of the factors that may influence the way in which they translate. (14) Translation, as a cross-language and cross-cultural communication activity, is inevitably influenced by ideology. It includes the translator's personal ideology and the ideology imposed on the translator by the authority or sponsor. These personal, social or upper-level ideologies will limit the selection of the theme of translated works and the form of expressing the theme and affect the translator's basic translation strategies and the interpretation of the original language and culture. Therefore, under the control of ideology, the translator will arbitrarily add, delete or change the original text, so that the translated text serves his own political purpose. (Zhang Xiaojuan, 130)<br /> <br /> '''Poetics'''<br /> <br /> Poetics involves two parts: literary technique and translator's view of literary function. Literary technique mainly includes genre, symbol, theme, etc. Translator's view of literary function refers to the role or function of literature in the whole social system. Translators not infrequently use their translations to influence the evolution of the poetics of their time. The compromises translators find between the poetics of the original and the poetics of their culture provide fascinating insights into the process of acculturation and incontrovertible evidence of the extent of the power of a given poetics. (26)<br /> According to Lefevere, the translation method adopted by translators is carried out and developed under a certain system of factors of poetics, and the object of the study of poetics is as small as one word or as large as one sentence and the style of the whole chapter, translation strategies and other aspects of the rewriting of the poetics, which are the important components of the cultural system where the rewriting writers are engaged in their creation. In order to conform to the ideology and poetics which occupied the dominant position in the period where they live and to achieve the goal of making the rewritten works accepted by as many readers as possible, the original works will be adjusted in a fixed degree. (Zhang Xiaojuan, 131)<br /> <br /> '''Patronage'''<br /> <br /> Generally speaking, sponsors refer to individuals and groups that can promote or hinder the production and dissemination of literary works in a certain historical period, and institutions that regulate the dissemination of literature and literary thoughts. Patrons can encourage the publication of translations they consider acceptable and they can also quite effectively prevent the publication of translations they do not consider so. (19) Lefevere regarded various rewriting forms, such as literary translation, as one of the various systems of the society. This department of philology has double factors of operation and control. One is the internal factor of the department of philology, which is composed of various professionals including critics, critics, teachers and translators The other is the patron who plays a role in the external department of the department, &quot;The patron is usually more interested in the ideology of literature than in poetics of literature&quot;, &quot;that are all kinds of powers (people or mechanisms) that promote or stop reading, writing or rewriting , such as religious groups, orders, government departments, publishing agencies, mass media mechanisms, or individual power. (Zhang Yuanyuan)<br /> Sponsors can encourage works that they think are suitable, and can also effectively curb works that they think are inappropriate. Generally speaking, they play a vital role in the dynamic direction of translation, the development of translated literature, and the social meeting place where translators are located. (Zhang Xiaojuan, 131)<br /> <br /> ===Analysis of translations===<br /> <br /> 1:In the dialogue between Wang Lifa and Cui Jiufeng in the second act of Teahouse, Wang Lifa said, &quot;可是住在我这里, 天天念经&quot; Cui Jiufeng replied, &quot;我现在只能修持, 忏悔!&quot; As for &quot;念经&quot; in the sentence, Ying Ruocheng's translation of &quot;chanting Buddhist scriptures&quot; is rich in Christian color; Huo Hua's translation &quot;chanting sutras&quot; abandons the meaning of Buddhism. From this, it can be seen that in order to meet the requirements of mainstream ideology, translators will choose corresponding translation strategies and delete or euphemistically treat some of the original texts in the process of translation. From the perspective of manipulation theory, this is the manipulation of ideology on translation.<br /> There is such a scene in the third act of Teahouse. “美国针、美国线、美国牙膏、美国消炎片。还有口红、雪花膏、玻璃袜子细毛线。”<br /> Ying’s translation: Yankee needles, Yankee thread; Toothpaste white and lipstick red. Patent potions, facial lotions; Nylons sheer, you’ll find here.<br /> Huo’s translation: Yankee needles, Yankee notions, Yankee toothpaste, Yankee potions. Lipsticks red, and cold cream white; Nylon stockings, sheer delight.<br /> By comparing these two translations, in order to better conform to the rhythm of English poetry and make the whole ditty read fluently, Ying Ruocheng splits the structural meaning of the original text and then reorganizes it. He adopts more alienation translation strategies in order to achieve the same rhythm as the original text. On the other hand, because of his love for Chinese culture and the influence of Chinese traditional literature, Huo Hua is more faithful to the original text in his translation, and translates the whole ditty in the order of the original text. From this, it can be seen that Huo Hua's translation is mostly based on domestication, so as to truly reproduce the cultural level in the source text.<br /> In the first act of Teahouse, Grandpa Four often complained to Wang Lifa, &quot;我也得罪了他?我今天出门没挑好日子! &quot; In this sentence, Ying Ruocheng translates &quot;没挑好日子&quot; into &quot;This is not my lucky day!&quot; The big reason is that his translation publishing house is China Foreign Publishing House, and Ying is more suitable for the traditions and habits of foreign readers, so as to facilitate the acceptance of foreign readers; On the other hand, Huo Hua translates it as &quot;I should've taken the Almanac's advice and stayed home today.&quot; Based on his understanding of Chinese traditional culture, Huo Hua knows that this is what Chinese people usually say orally that going out depends on the lunar calendar, so he translated it as &quot;Take the Almanac's advice and stayed home&quot;, which is more faithful to the connotation of Chinese traditional culture. (Huang Mingjuan, 144-145)<br /> 2:Facing globalization, the great rejuvenation of the Chinese nation must be strongly supported by the prosperity of culture. Under the background of vigorously advocating the use of literature output to improve the soft power of Chinese culture, we should treat the translation of Chinese literature more rationally. China has been a collectivist country since ancient times and advocated unity and unity. For families, there is a saying that &quot;home is harmonious and everything is prosperous&quot;; For the neighborhood, there is the advocacy of &quot;good neighborliness and friendship&quot;. Therefore, when translating the report of the 19th National Congress into English, it is inevitable to be influenced by the feelings of home and country, which can be seen everywhere in the text.例1：原文：大会的主题是：不忘初心，牢记使命…… 译文：The theme of the Congress is: Remain true to our original aspiration and keep our mission firmly in mind... Analysis: There is no human appellation like &quot;we&quot; in the original text of the sentence, but it appears in the translation that “our original aspiration” and “our mission”. Thus, its text translation is manipulated by our country's ideology, which is intended to show the collectivism consciousness of the Chinese nation and show that all ethnic groups in our country are united and love each other dearly. <br /> The opening report of the 19 th National Congress contains a large number of words with Chinese characteristics, and its English translation is manipulated by the socialist culture with Chinese characteristics. For example：Translate“不忘初心，方得始终”into “Never forget why you started, and you can accomplish your mission” “行百里者半九十”into “As the Chinese saying goes, the last leg of a journey just marks the halfway point”. English translation of such words with Chinese characteristics must be carried out on the basis of fully understanding the connotation of Chinese culture, which also well reflects the translator's own literary accomplishment and mastery of poetic ability.<br /> The report in the opening ceremony of the 19th National Congress belongs to the official documents of the party and government organs, and its sponsors are obviously the Communist Party of China and its leaders. Therefore, the report represents the will of the party and the people, in which every word, phrase and sentence collocation must be carefully screened before being finalized and must conform to the will of the country and represent the interests of the party and the people. This also requires translators to keep a clear head and high political acumen at all times, and to represent and safeguard the national image at all times. (Jia Shanshan, 169)<br /> 3;Throughout Chongqing's literary translation activities during the Anti-Japanese War, the influence of ideological manipulation is everywhere. The translated works in this period fully reflect the high unity of mainstream ideology and individual ideology. Personal translation behavior serves the ideological needs of mainstream society, thus promoting the development of translation career. In Chongqing from 1937 to 1945, the Anti-Japanese War became the main theme, the national significance was constantly awakened, and the desire for national independence was extremely strong. People from all walks of life in society fight in various ways, and the literary world is engaged in a spiritual and cultural war of resistance with its unique and appealing style. Therefore, most of the translation subjects in this period are anti-war works.<br /> Mainstream poetics and ideology are often inseparable. Under the influence of the mainstream ideology of the Anti-Japanese War, realistic literary creation and translation become the mainstream poetics. During this period, Chongqing's translation activities show that literature and art should serve reality. Whether it is genre, theme, language or ideological content, it can quickly stimulate readers' anti-war enthusiasm and resonance. In this period, the theme of translated poetry is full of realistic feelings, and the translated language is simple, free in form, catchy, emotional and easy to tell. From theme to target language, mainstream poetics of target language is fully considered. The original texts are often deleted, combined with Chinese native characteristics and literary factors, and naturalized in China, all of which reflect the mainstream poetics.<br /> During the Anti-Japanese War in Chongqing, the sponsors of translation activities are mainly social organizations, newspapers, periodicals, literary intellectuals and so on. These sponsors make full use of their social appeal to organize and encourage Chongqing's literary translation activities. It can be said that these &quot;sponsors&quot; have a great influence on Chongqing's literary translation activities during the Anti-Japanese War, especially in promoting the exchange of Chinese and foreign anti-Japanese literature works, and achieve remarkable results. In this period, the sponsors of translation are united as never before, actively guiding the translation and introduction of anti-war literature works, providing a publishing platform for translated works, guiding the trend of public opinion, and fully integrating the mainstream ideology into translation practice. For example, Xinhua Daily, Sino-Soviet Culture and other newspapers and media as well as anti-Japanese literature and art circles have translated and introduced many famous Russian and Soviet writers and literary works. Some American literary groups and journalists have set up a series of publications, such as China Monthly and Far Eastern People, which translate and introduce anti-Japanese literature works of Mao Dun, Lao She, Yao Xueyin, Ai Qing and others to the United States, showing the influence of sponsors on translation activities. (Yu Jinyan, 98)<br /> 4:As an important media of cultural communication, American TV drama not only has an eye-catching story, but also contains a lot of foreign cultural factors, such as authentic American slang and spoken language, strange historical allusions, and novel network neologisms. As a bridge between Chinese and American cultures, subtitle translation of American TV drama is particularly important. First of all, when the social values of the translation and the source text conflict, ideology will manipulate the translator to rewrite the sensitive parts of the text to meet the social ideology requirements of the target language. In addition, American TV series contains a lot of local cultural factors, which is difficult to find the corresponding symbols in the process of translation and introduction, so the rewriting of culture in subtitles is inevitable. Example 1: English version: Hewlett and Packard<br /> Chinese version: 休利特和帕卡德<br /> (比尔·休利特和戴维·帕卡德是惠普(HP)公司创始人，两者均为男性。)<br /> -Quoted from the Big Bang Theory<br /> Many Chinese audiences are familiar with HP brand, but know little about its founders. Therefore, in addition to translating the names of the two founders literally at the bottom of the screen, the subtitle group members also added their identities and remarks &quot;Both are male&quot; at the top of the screen. This not only preserves the characteristics of the source language culture, but also helps the audience enjoy the movie-watching activities smoothly, and also increases the comedy sense of the play<br /> From the perspective of mainstream poetics, Chinese and Western translation circles tend to combine &quot;domestication&quot; with &quot;foreignization&quot; in translation practice, which can not only solve the differences between Chinese and Western cultures, but also reproduce the characteristics of the source culture in the target language as much as possible.<br /> Example 2: English version: Look at that, the problem solved itself.<br /> Chinese version: 你瞧!不攻自破了。 <br /> English version: Preparation can only take you so far.<br /> Chinese version: 谋事在人，成事在天。<br /> -Quoted from the Big Bang Theory<br /> Influenced by mainstream poetics, translators rewrite the subtitles of American TV series by combining domestication and foreignization. If literal translation is adopted, the over-colloquial expression lacks poetic aesthetic feeling, while subtitle translators use “不攻自破” “谋事在人，成事在天”. These Chinese idioms with profound traditional culture not only accurately convey the meaning of the original sentence, but also cater to the audience's preference of the target language.<br /> In order to obtain social and economic resources and establish their own influence in the target language society, the sponsors will actively encourage the media system to produce as many film and television works as possible and meet the needs of the audience. In order to achieve this goal, they will introduce the mainstream social value orientation in the selection of film and television dramas, and also manipulate subtitle translators to adjust and change the subtitles of American TV dramas to some extent according to the target people's acceptance ability and expectation horizon. (Long juan &amp; Tang Bo, 63-65)<br /> 5:In 1930s, the western world knew very little about Chinese culture at that time, and most people thought that China was a savage and backward nation. The Chinese people in Westerners' minds were ignorant, superficial and vulgar. Facing the misunderstanding and discrimination of Westerners towards China, Lin Yutang tried to show the western world the true philosophy of life and attitude of Chinese people by translating “浮生六记” which told the story of a Chinese couple's quiet and simple life. He adopted the translation strategy of combining domestication and foreignization, which made the translated works not only retain the characteristics of Chinese culture, but also be easily understood and accepted by western readers.<br /> Original text: 彼非作《琵琶行》者耶?<br /> English translation: Isn’t he the one who wrote the poem on The Pi Pa Player?<br /> Here, Lin Yutang translated &quot;琵琶行&quot; into &quot;The Pi Pa Player&quot; rather than &quot;lute&quot; and other forms that were easy for western readers to understand. He adopted the translation strategy of alienation and retained Chinese cultural characteristics, with the aim of making Chinese culture go abroad and giving western readers a certain understanding of traditional Chinese culture.<br /> In order to make the target readers better understand and accept and spread the translated version smoothly, Lin Yutang adhered to the translation criteria of &quot;faithfulness, fluency and beauty&quot; and adjusted the original text to a certain extent. <br /> Original text: 桥南有莲心寺。寺中突起喇嘛白塔,金顶缨络,高矗云霄,殿角红墙,松柏掩映,钟磬时闻;此天下园亭所未有者。<br /> English translation: On the south of the bridge there was the Lotus-Seed Temple, with a Tibetan pagoda rising straight up from its midst and its golden dome rising into the clouds, with the terracotta walls and temple roofs nestling under the kind shade of pine-trees and cypresses and the sounds of temple bells and ch’ing [musical stone] coming to the traveler’s ears intermittently——all combining to achieve a unique effect that could not be duplicated in any other pleasure garden of the world.<br /> The original text described the beautiful scenery of Lianxin Temple in concise language. Lin Yutang combined the two sentences of the original text into a long sentence, forming a compact and clear structure, which vividly presented the scene of Lianxin Temple to western readers. This beautiful sight of China can bring unique aesthetic feeling to western readers, realize the function of literature, and conform to the mainstream poetics at that time.<br /> Sponsors not only have a profound influence on the publication of translated works, but also have an inseparable connection with translators' selection of translation materials. For Lin Yutang's translation of “浮生六记”, the monthly magazine Tianxia and the couple Pearl Buck are influential patrons. (Zhang Baiye &amp; Hu Yajie, 105-108)<br /> 6:In the Chinese translation of Peter Pan, Yang Jingyuan chooses the combination of written language and spoken English in Beijing, and downplays the indecent language in the original text. The choice of this language translation strategy must be determined by his ideology. In the original text, the topic of &quot;mother&quot; appears in many occasions, such as storytelling and character dialogue, and Yang Jingyuan translates it into written language &quot;母亲&quot; in most occasions. &quot;Twins&quot; in the original text is translated by Yang as &quot;孪生子&quot; in written language. Yang Jingyuan tends to use the northern dialect to translate, which is reflected in her translation sequence: when it comes to children's pleasure in never having a hometown, &quot;他们不用上学读那些劳什子的书&quot; &quot;Sweater&quot; is translated as &quot;线衣&quot; and &quot;frock&quot; is translated as &quot;罩褂&quot;. &quot;劳什子&quot;, &quot;线衣&quot; and &quot;罩褂&quot; are typical northern dialects.<br /> In the story, the fairy Ding Keling has a pet phrase &quot;You silly ass&quot;, which Yang translated as &quot;你这笨蛋&quot;. The severely abusive language in the original text is treated as generally critical language in the translated text. Yang Jingyuan was born into a scholarly family and received higher education. Therefore, when she translated words, she intentionally or unintentionally chose the combination of written language and spoken English in Beijing, and downplayed the indecent language in the original text. Therefore, the translator's ideology really controls her translation process.<br /> Yang Jingyuan definitely affirms Peter Pan's literary value and aesthetic value in the translation sequence. Under the control of this poetics, the translator builds a bridge of fantasy with exquisite and beautiful language in his translation, and poetry is perfectly reflected. The original story happened in Neverland, and Yang Jingyuan translated it as &quot;永无乡&quot;. This translation method accurately grasps the spirit of the original work-although this place is good, it is the other side that can never be reached in reality, and the depth of melancholy and helplessness are expressed incisively and vividly. The following examples more fully reflect the manipulation of the original text by the poetics of the target language<br /> Original text: when children died he went part of the way with them.<br /> Translated text: 孩子们死了, 在黄泉<br /> Original text: she used to say afterwards to her husband.<br /> Translated text: 她老是对丈夫说这些事后诸葛亮的话。<br /> The translator deliberately chooses the words &quot;黄泉&quot; and &quot;事后诸葛亮&quot; in a way of additional translation, which are unique in Chinese culture. The manipulation of the target text by the poetics of the target language culture can be seen. Yang Jingyuan was suffering from severe cataract at that time. It was difficult for her to read and write. In order to relieve her distress, her husband helped her translate the book. After reading Peter Pan, Fan Yong especially appreciated it and published it. It can be seen that Peter Pan was originally a spontaneous academic behavior of Yang Jingyuan. The initial sponsor was her lover, and later Fan Yong, general manager of Sanlian Bookstore, so the publishing house was also one of the sponsors. Together, they contributed to the publication of this book. (Xie Chengfeng, 179-181)<br /> 7:Zhu Shenghao translated King Lear in 1942. At that time, China was economically backward and politically turbulent. &quot;Saving the country and the people&quot; and &quot;national liberation in an all-round way&quot; became the mainstream ideology of the society at that time. When it was learned that Japanese translator laughed at the backwardness of Chinese culture, which was a barren place without Shakespeare's complete works, Zhu's patriotic enthusiasm was thoroughly aroused. In order to make the people with low education level understand this western classic better, he paid special attention to the harmony of phonology and the smoothness of the whole article in the process of translation. Meanwhile, he wanted to keep the verve of the original as far as possible. Therefore, he mainly adopts domestication.<br /> (Act II, Scene IV)<br /> Lear: No, rather I abjure all roofs, and choose<br /> To wage against the enmity o’the air;<br /> To be a comrade with the wolf and owl,<br /> Necessity’s sharp pinch! (Shakespeare, 1972)<br /> Zhu’s translation: 不, 我宁愿什么屋子也不要住, 过着风餐露宿的生活, 和无情的大自然抗争, 和豺狼鸱鸮做伴侣, 忍受一切饥寒的痛苦! <br /> Zhu Shenghao is inspired by national honor and disgrace. His three parallelism sentences are full of momentum, like flowing water. Words such as &quot;风餐露宿&quot; and &quot;无情的大自然&quot; also pour out his inner anger and patriotic enthusiasm for the domestic status.<br /> With the rise of the New Culture Movement in China in the 1930s, foreign literature and ideas were constantly introduced by translation. The creation of vernacular Chinese was valued and welcomed. With the principle of letting the general public enjoy Shakespeare's plays, he adopted a more colloquial prose style as the main translation style.<br /> (Act I, Scene I)<br /> Cordelia: But yet, alas! stood I within his grace,<br /> I would prefer him to a better place.<br /> So farewell to you both. (Shakespeare, 1972)<br /> Zhu’s translation: 考狄利娅:可是, 唉!要是我没有失去他的欢心, 我一定不让他依赖你们的照顾。再会了, 两位姊姊。<br /> Zhu Shenghao abandoned the framework of the original text and translated its meaning directly in the form of easy-to-understand prose, reflecting his preference for more colloquial prose translation.<br /> Zhan Wenxu and Zhu Shenghao worked together in the World Publishing House for many years, and Zhan quite appreciated Zhu's literary talent and translation level. Later, Zhan was appointed editor-in-chief of the World Publishing House. He suggested that Zhu Shenghao translate Shakespeare's works, which coincided with Zhu's own ideas. So Zhu signed a contract with the World Publishing House in 1935 and started the process of translating Shakespeare. So Zhan helped Zhu a lot in the road of translation. (Zhou Ya, 176-178)<br /> <br /> ===Conclusion===<br /> Lefevere's manipulation theory has a wide influence in the translation field, holding that translation is a creative process, and the translator will inevitably be influenced by the culture of the target language, and emphasizes three major elements: ideology, poetics and patron.<br /> Leffert emphasized the translator's position and role in literary translation, and pointed out that the translator's subjectivity is extremely complex, and its exertion is restricted by subjective and objective factors such as ideology and custom system. Ideology can be divided into mainstream social ideology and translator's personal ideology. Its influence on translation is everywhere, and the translator's thoughts, viewpoints, writing style and even his surroundings will be manipulated by invisible ideology. In the process of translation, the intended readers and clients in the translator's mind come from the target language system, and the translator himself is immersed in the culture of the target language system. Therefore, the mainstream poetic form of the target language system and the popular literary view at that time are largely used in the whole process of translation literature creation. Sponsors have a certain status and can provide remuneration and other help to translators. They can restrict the translation norms and decide the publication of translated works, and even decide the translator's translation goals and strategies and the acceptance of translated works.<br /> <br /> ===Bibliography===<br /> <br /> ==Roger T.Bell’s Special Outlook on Translation Studies 陈江宁 Chen Jiangning==<br /> <br /> ==A Brief Introduction to the Translation Theories of Catford and Eugene Nida 杨晨婷 Yang Chenting==<br /> <br /> ==On the Differences of Nida's and Newmark's Theory==<br /> <br /> &lt;center&gt;康灵凤 Kang Lingfeng&lt;/center&gt;<br /> <br /> '''摘要'''<br /> <br /> 尤金·奈达和彼得·纽马克是西方著名的翻译家和翻译理论家，经过多年的翻译实践，他们各自提出了一套自己的翻译理论系统。奈达提出了翻译功能对等理论。彼得·纽马克提出了语义翻译和交际翻译的概念。两人处于同一时代背景，他们的翻译理论不可避免的有相似之处，但是两人的翻译理论也有不同，本文将对比两者的翻译理论，着重分析奈达和纽马克两人翻译理论的差别。<br /> <br /> '''关键词'''<br /> <br /> 功能对等；语义翻译；交际翻译<br /> <br /> '''Abstract'''<br /> <br /> Eugene A. Nida and Peter Newmark are noteable translators and translation theorists in the western world. They respectively ever proposed a set of tanslation theory system after many years of translation practice. Nida put forward functional equivalence theory. Their translation theories inevitably have some similarities in that they are under the same social background. This thesis will compare translation theories of them, and analyze the differences between Nida’s and Newmark’s translation theories. I hope to provide useful references for translation colleagues.<br /> <br /> Eugene A. Nida and Peter Newmark are noteable translators and translation theorists in the western world. They respectively each proposed a translation theory system after many years of translation practice. Nida put forward the 'functional equivalence theory'. Their translation theories inevitably have some similarities in that they were created under the same social background. This chapter will compare their translation theories, and analyze the differences between Nida’s and Newmark’s translation theories.--[[User:Root|Root]] ([[User talk:Root|talk]]) 10:12, 23 November 2020 (UTC)<br /> <br /> '''Key Words'''<br /> <br /> Functional equivalence; semantic translation; communicative translation<br /> <br /> ===Chapter 1 Introduction of Nida’s and Newmark’s Translation Theories===<br /> <br /> Nida worked for translation department of American Bible Society and organized Bible translation, and drew some conclusions when translating Bible. According to these experiences, he published ''Toward a Science of Translating'' in 1964, ''The Theory and Practice of Translation'' in 1969, etc. His translation theory and the phrase-dynamic equivalence was first introduced in the former book with many examples about Bible translation. Peter Newmark and Eugene A. Nida are the same century and Newmark is two years younger than Nida. But Newmark’s translation theory appears 20 years later than Nida’s. Since 1974, Newmark has begun to teach students translation theories in the university and try to write passages about translation problems. It is said that Newmark’s ideas are from his classes. His first works-''Approaches to Translation'' was published in 1981, which gained widespread praise immediately. Semantic translation and communicative translation were put forward in this book.<br /> <br /> ====1.1 Introduction of Nida’s Translation Theory====<br /> <br /> ====1.2 Introduction of Newmark’s Translation Theory====<br /> <br /> ===Chapter 2 About Research Methods of Translation===<br /> <br /> ===Chapter 3 About Translation===<br /> <br /> ====3.1 About Content and Form in Translation====<br /> <br /> ====3.2 About Degree of Emphasis on the text====<br /> <br /> ===Chapter Four About Translation Evaluation Criteria===<br /> <br /> ===Conclusion===<br /> <br /> ===References===<br /> <br /> ==Impacts of Western Translation Theories on The Translator’s Guide to Chinglish 赵茜 Zhao Xi==<br /> <br /> ='''Chinese Translation Theories'''=<br /> <br /> <br /> ==A breif introduction to Xu Yuanchong's translation theories 杨逸 Yang Yi==<br /> ===Abstract===<br /> Xu Yuanchong has been engaged in literary translation for more than 60 years and has published more than 120 translated works in Chinese, English or French at home and abroad, almost half of his works focus on the translation of ancient Chinese poems. He was honored as &quot;the best one who translate poems from Chinese to English and French &quot; and was presented with &quot;Aurora Borealis&quot; Outstanding Literary Translation Award. So this paper will be divided in three parts, based principally on his poetry translations, to introduce briefly Xu Yuanchong’s translation theories : his principle of three beauties, his principle of three transformations and his principle of three purposes.<br /> ===Key words===<br /> Xu Yuanchong ; principle of three beauties ; principle of three transformations ; principle of three purposes<br /> ===摘要===<br /> 许渊冲从事文学翻译工作超过六十年，已经在国内外出版中、英、法文著作一百二十多部。这其中中国古代诗词几乎占到了一半。他被誉为“诗译英法唯一人”，曾获“北极光”杰出文学翻译奖，是首位获此殊荣亚洲翻译家。因此本论文主要将分为三部分，结合他的诗歌译本来浅析他的翻译理论：“三美论”,“三化论”和“三之论”。<br /> ===关键词'''===<br /> 许渊冲；三美论；三化论；三之论<br /> ===Introduction===<br /> <br /> ===Chapter 1 principle of three beauties===<br /> <br /> ===Chapter 2 principle of three transformations===<br /> <br /> ===Chapter 2 principle of three purposes===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Ji Xianlin’s view on translation 马淑雅 Ma Shuya==<br /> <br /> ==Translation Thoughts and Theories in China 雷方圆 Lei Fangyuan==<br /> <br /> ==Comparison between the History of Chinese and western Translation 张佩闻 Zhang Peiwen==<br /> <br /> ==Reflections of Translation Theory Books 李丽琴 Li Liqin==<br /> <br /> ==A Brief Introduction to Lu Xun's Translation Theories 张瑜 Zhang Yu==<br /> <br /> ===Abstract===<br /> Lu Xun, as China’s renowned writer, thinker and one of founders of Chinese modern literature, has left a great amount of precious spiritual wealth. His representative works include Outcry, A Madman's Diary, Dawn Blossoms Plucked at Dusk, Wild Grass and so on, which are the bright pearls of Chinese literature. We have a general understanding of him when he served as a writer. In fact, as a translator, Lu Xun has also left profound translation works for generations including translations of literature and theory works. Even seeing from the time line, the records of his translation activities were far prior to his literary creation. His earliest novel, Nostalgia, was finished in 1911, while his earliest translation, Mournful World, as finished in 1903. In the process of translating different works, Lu Xun gradually formed his own translation theory. Therefore, learning more about his translation theory is conducive to comprehensively recognizing him. This paper mainly introduces Lu Xun's translation theory as well as its formation and development.The purpose is that make everyone have a more profound understanding to Lu Xun's theory.<br /> <br /> ===Key Words===<br /> Lu Xun, Translation Theory, Literal Translation, Hard Translation,<br /> <br /> ===摘要=== <br /> 鲁迅作为我国著名的文学家、思想家、中国现代文学的奠基人之一，给我们留下了一大批宝贵的精神财富，如他的代表作品《呐喊》、《狂人日记》、《朝花夕拾》、《野草》等，都是我国文学宝库中璀璨的明珠。而我们对他的了解可能始于他的作家身份，但事实上，作为翻译家的鲁迅也给后人留下了内容丰富的翻译作品，其中包括文学作品翻译和理论著作翻译。甚至从时间上来看，他从事翻译活动要远远早于文学创作活动，鲁迅最早的小说《怀旧》创作于1911年，而他最早的译文《哀尘》则完成于1903年。鲁迅在从事翻译活动的过程中，逐渐形成了自己的翻译思想，所以了解鲁迅的翻译思想有助于我们更加全面地了解鲁迅。本章回将主要介绍鲁迅的翻译思想及其形成与发展,以此让大家对鲁迅的翻译思想有一个更深刻的了解。<br /> <br /> ===关键词===<br /> 鲁迅，翻译思想，直译，硬译，宁信不顺<br /> <br /> ===1.Introduction===<br /> It is estimated that Lu Xun translated 144 pieces of works of 110 writers from 15 countries and regions in his whole lifetime (Xu Lan, 2017:447). Meanwhile, Lu Xun was engaged in translating foreign literary works from 1903 to 1936, which lasted a long period. Therefore, his identity serving as a translator cannot be neglected. In fact, in the process of undertaking translation, Lu Xun has made great contributions to the Chinese translation history, such as coming up with a series of translation theory. This paper intends to introduce Lu Xun’s translation theory, including his purpose of translation, literal translation and hard translation, the speech and syntax of translation, retranslation and translation criticism. Then it discusses the formation and development of Lu Xun’s translation theories, such as the translation methods developing from free translation to literal translation and even hard translation.<br /> <br /> ===2.Lu Xun's Translation Theories===<br /> <br /> 2.1 Purpose of Translation<br /> <br /> From 1903 to 1936, the works and articles translated by Lu Xun can be divided in two categories. One includes scientific literary theories and revolutionary literary works; another includes other articles and works different from the first one. However, the purposes that he translated the two categories of works are different. <br /> <br /> For the first category, he hoped that these translation works were able to service for the revolution and serve as the “guide of future revolutions”. In the Hard translation and Hierarchy of Literature published in 1930, Lu Xun responded that it worked for me, for some who claimed proletarian literary critics, and for some readers who were willing to learn more about the theory in spite of having difficulties. From the remarks of Lu Xun, we can see that these works translated by him aimed at not only improving and introspecting himself, but also helping those literature workers who stand with him. In his essays, he usually compared the importance of translation to the Greek mythology that the hero Prometheus stole fire from the gods and gave it to earthly mortals. In his point of view, he believed that these scientific literary theories and revolutionary literary works were able to bring “fire and light” for people. For example, the purpose of translating the Russian work, Destruction (written by A. Fadeyev, translated by Lu Xun) was to introduce steel-willed characters and struggles without fear of sacrifice, encourage Chinese people to engage themselves in revolutionizing the old society, and provide references for Chinese revolutionary writers to create more inspiring works.<br /> <br /> For the second category, Lu Xun hoped that these translation works were able to provide reference materials for people. In the preface of his translation, Ideology, Landscape, Figure, he mentioned that “my translation and introduction aim at making part of readers learn the existence of these things, persons, ideology and remarks…Therefore, if I believe that it’s useful and beneficial, I would attempt to translate it.” For example, he claimed that young people could read some books about imperialists to know more about the foreign countries. There is an old saying that “know the enemy and know yourself, and you can fight a hundred battles with no danger of defeat”. <br /> <br /> 2.2 Free Translation and Hard Translation<br /> <br /> 2.3 The Speech and Syntax of Translation<br /> <br /> 2.4 Retranslation<br /> <br /> 2.5 Translation Criticism<br /> <br /> ===3.The Formation and Development of Lu Xun's Translation Theories===<br /> <br /> ===4.The Application of Lu Xun's Translation Theories===<br /> <br /> ===5.Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.<br /> *顾钧.鲁迅翻译研究[M].福建：福建教育出版社，2009年.<br /> <br /> ==Japanese and English--Contrastive analysis and Linguistic typology 谢子熠 Xie Ziyi==<br /> ==A Brief Introduction to Eco-translatology Theory 刘怡瑜 Liu Yiyu==<br /> <br /> ='''Translation Theories'''=<br /> <br /> ==A study on a History of Translation Theory 李梦 Li Meng==<br /> <br /> ==A Comparative Study of Translation Theory between Bell and Liu Zhongde 林鑫 Lin Xin==<br /> <br /> ==A Comparative Study of Nida's Theory and Jin Di's Theory 罗维嘉 Luo Weijia==<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> ===Jin Di's Translation Theory of Equivalent Effect===<br /> <br /> ===Nida's Translation Theory of Dynamic Equivalence===<br /> <br /> ===Difference Between Jin's Theory and Nida's Theory===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Translation , Translating and interpreting 漆凯 Qi Kai==<br /> <br /> ==A Brief Introduction to Chinese Translation Theories Around the Turn of 20th Century 郭露 Guo Lu==<br /> <br /> ==='''Abstract'''===<br /> In this chapter, I define theory as a group of ideas meant to explain a certain topic, and translation theory comes from, explains and in turn guides translation practice. The relationship between translation theory and translation practice ideally could be that of interacting, mutual constructing, complementing and enhancing each other. Besides that, translation theory may help a translator to open his or her horizon, enriching his or her knowledge, enhancing his or her skills, and finally promoting him or her to a master. Therefore, this chapter gives a brief introduction of translation theories and helps translators to learn more about them.<br /> <br /> ==='''Key Words'''===<br /> Translation theory, Chinese translation theories, Western translation theories<br /> <br /> ==='''摘要'''===<br /> 理论旨在对某一话题进行解释，翻译理论来源于翻译实践，同时又对翻译实践进行了阐述，并反过来指导实践的发展。翻译理论和实践之间的关系在于两者之间相互关联、相互补充和完善。除此之外，翻译理论还能帮助译者拓宽视野，丰富译者的理论知识和技能，有利于译者在翻译这一领域更好的发展。因此，本文对各翻译理论进行简要介绍，以帮助译者更好的了解主流翻译理论。<br /> <br /> === '''关键字'''===<br /> 翻译理论；中国翻译理论；西方翻译理论<br /> <br /> ==='''Chinese Translation Theories'''===<br /> <br /> 1.1 Buddhist Scripture Translation Theory<br /> <br /> 1.2 Chinese Translation Theories Around the Turn of the 20th Century<br /> <br /> 1.3 Chinese Translation Theories in the 20th Century<br /> <br /> ==='''Early Western Translation Theories'''===<br /> <br /> 2.1 Translation History of the West in Ancient Times<br /> <br /> 2.2 Early Bible Translation<br /> <br /> 2.3 Translation in the Early Middle Ages<br /> <br /> 2.4 Translation Theories in the Renaissance Period<br /> <br /> 2.5 Translation in Early Modern Europe<br /> <br /> ==='''Modern Western Translation Theories'''===<br /> <br /> 3.1 The Structuralist School<br /> <br /> 3.2 The linguistic School of Translation Studies<br /> <br /> 3.3 The School of Communicative Translation<br /> <br /> 3.4 Functional Theories of Translation<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''References'''===<br /> <br /> ==The Influence of Cultural Differences on Translation Methods 张宇星 Zhang Yuxing==<br /> <br /> ='''Comparison of Translation Theories'''=<br /> <br /> <br /> ==Comparison Of Translation Theory Between Yan Fu And Tytler 陈涵 Chen Han==<br /> ===Abstract===<br /> <br /> Yan Fu and Tytler are outstanding translators in the history of Chinese and Western translation respectively. Tytler’s “Three Principles of Translation” and Yan Fu’s “Faithfulness, Expressiveness and Elegance” are one of the most important translation theories. It is believed that the two theories have a broad and profound impact on Chinese and Western translation theories and practices. Although they lived in different times, their theories were quite similar which aroused much controversy. This paper will expound “Three Principles of Translation” and “Faithfulness, Expressiveness and Elegance” and focus on the similarities and differences between these two theories in terms of content, theoretical basis and culture. It aims to figure out the relationship between the two theories, better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a dialectical perspective, thus making Translation Studies become more systematic and scientific.<br /> <br /> ===Key words===<br /> <br /> Faithfulness, Expressiveness and Elegance; Three Principles of Translation; Yan Fu; Tytler<br /> <br /> ===摘要===<br /> <br /> 严复与泰特勒分别是中西方翻译史上的杰出翻译家。严复的“信达雅” 与泰特勒的“翻译三原则”分别是中西翻译史上最重要的翻译理论之一，对翻译理论与实践方面有着广泛深刻的影响。严复与泰特勒二人虽处于不同的时代，但他们的翻译理论却十分相似，从而引起许多争议。本文将系统阐述二人的翻译理论，从这两种理论的内涵、文化背景和理论基础等方面比较二者的相似点和不同点。这种做法有助于理清两个理论之间的关系，更好的将翻译理论应用于翻译实践，并主张我们辩证看待中西方翻译理论，从而使翻译研究更具有系统性与科学性。<br /> <br /> ===关键词===<br /> <br /> 信达雅；翻译三原则；严复；泰特勒<br /> <br /> ===Introduction===<br /> <br /> In the history of translation, many outstanding scholars and translators have emerged both in China and in the West. They have never stopped discussing translation, and most of them have systematically summarized translation standards. In ancient China, many translation thoughts and translation theories emerged, including Shi Daoan’s “Five Instances of Losing the Source and Three Instances of Difficulties” and Xuan Zang’s “Five Guidelines for Not-Translation a Term” (Zhang Peiyao, 2014). Later, Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Qian Zhongshu’s “Sublimation” theory appeared successively. Prominent representatives of Western translation theory include five elements of translation put forward by a French linguist Etienne Dolet in the 16th century, seven rules of translation put forward by a German translation theorist Martin Luther, three principles of translation by a British translation theorist Tytler in the 18th century, semantic translation and communicative translation of Newmark in the 20th century, and the dynamic equivalence of Nida. <br /> <br /> In this process, Chinese and Western translation theories have been developing independently in a relatively isolated state. It was not until about the beginning of the 20th century that initial exchanges and dialogues began. Translation standards are the core issue of translation theory and practice. At the beginning of the exchange, the translators were concerned about it. At the end of the 18th century, Tytler proposed three basic principles for translation and evaluation of translation, which had a great impact on later translation theorists. More than 100 years later, Yan Fu’s translation standard of “Faithfulness, Expressiveness and Elegance” was put forward. This chapter will discuss two representative translation theories from China and the West—Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Tytler’s Three Principles of Translation, and analyze the two theories from the historical and cultural background and their theoretical basis of. Through comparison, we can grasp the similarities and differences between the two theories, so as to contribute to translation studies and guide future translation practices.<br /> <br /> ===An Overview of the Two Theories===<br /> <br /> Yan Fu’s “Faithfulness, Expressiveness and Elegance” and Tytler’s Three Principles of Translation have had a profound impact on the history of translation at home and abroad. If we compare and analyze the two theories, we must first correctly understand the connotation of each theory.<br /> <br /> '''1.Yan Fu’s Translation Principles of Faithfulness, Expressiveness and Elegance'''<br /> <br /> Yan Fu was a Chinese scholar and translator, most famous for introducing western ideas. His three translation principles—faithfulness, expressiveness and elegance first made its appearance in Yan’s preface to his own translation of T. H. Huxley’s ''Evolution and Ethics'' (1898): <br /> <br /> “Translation involves three requirements difficult to fulfill: faithfulness (''xin''), expressiveness (''da'') and elegance (''ya''). Faithfulness is difficult to attain but a translation that is faithful but not expressive, or fluent, is no translation at all. Expressiveness is therefore of prime importance. Since China’s opening to foreign trade by sea, there has been no lack of interpreters and translators. But if you assign them any book to translate and tell them to meet these two requirements, few can do so.” (Yan Fu, 2009: 202)<br /> <br /> In his words, the three principles indicate that the translator should be faithful in conveying the message of the original text, fluent in the expression in the target language and elegance in style. Faithfulness emphasizes the fidelity to the original. Yan believes that the translator cannot begin his work until he has mastered the connotation of the original text. Expressiveness stresses the fluency and acceptability of the translation. As for elegance, Yan holds that dictation without elegance cannot reach far. So far, elegance has led some discussions in the study of translation. <br /> <br /> Based on his understanding of ancient Buddhist Scriptures translation and his own translation practices, Yan Fu put forward “faithfulness, expressiveness and elegance” which has become the fundamental tenets of 20th Chinese translation theory. <br /> <br /> '''2 Tytler’s Three Principles of Translation'''<br /> <br /> Alexander Fraser Tytler is an eminent British translation theorist. In 1790, he proposed three principles of good translation in his book, ''Essay on the Principles of Translation''. When it comes to a good translation, he described that the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt by a native of the country to which that language belongs, as it is by those who speak the language of the original work. (Tytler, 2007: 8-9) <br /> <br /> According to his description of good translation, it can be easily seen that Tytler has attached great importance to mastery of ideas in the original texts. Therefore, he put forward three principles on the basis of good translation: (1) That the Translation should give a complete transcript of the ideas of the original work; (2) That the style and manner of writing should be of the same character with that of the original; (3) That the Translation should have all the ease of original. (Tytler, 2007: 9) From Tytler’s point of view, the order of these three principles is appropriate and natural, and it is arranged by importance. If translating a text, one cannot pursue the smoothness and elegance at the cost of ignoring the ideas in the source language.<br /> <br /> The appearance of Tytler’s Three Principles of Translation laid a good foundation for Western translation studies. And it created a research method of induction through theory.<br /> <br /> ===The Social and Theoretical Background of the Two Theories===<br /> <br /> ===Similarities and Differences Between the Two Theories===<br /> <br /> ==Comparison of Eileen Chang’s Self-Translation and Conventional Translation from the Perspective of Gender 纪甜甜 Ji Tiantian==<br /> '''摘要：''' 张爱玲作为中国女性主义文学的代表人物，在她的创作过程中，女性主义思想、性别意识得到了充分的体现。张爱玲本人除了是一个作家外，也身兼译者的身份，从性别视角研究其自译与他译文本中所采取的翻译策略及其体现出来的性别意识，有助于张爱玲翻译研究的进一步发展，弥补中国翻译史中女性翻译史的欠缺，也有利于性别研究在中国语境下的进一步发展。<br /> <br /> '''关键词：''' 张爱玲，性别，自译，他译<br /> <br /> '''Abstract:''' As a representative figure of Chinese feminist literature, Eileen Chang’s feminist thoughts and gender consciousness have been fully reflected in her creation process. Besides, she is not only a writer, but also a translator. Studying her translation strategies in self-translation and conventional translation and exploring the gender consciousness reflected in her process of translation can help to the further development of translation studies of Chang, make up for the lack of translation evaluation of Chinese women and it also conducive to the further development of gender study in the context of China.<br /> <br /> '''Key words:''' Eileen Chang, gender, self-translation, conventional translation <br /> <br /> '''Introduction'''<br /> <br /> Eileen Chang, as a Chinese well-known female writer in the 20th century, her novels and prose has attracted much attention, so that many scholars focus on her literary creation achievement but ignore her translation, numerous books aiming to introduce the Chinese translation history make no mention of Eileen Chang's identity as a translator. In fact, Eileen Chang should be reckoned with in the translation field in that she has also made significant contributions in translation. Mao Dun has pointed out that “ People who can translate literature books must be someone has talent in creation”, looking through the Chinese history, we can find that there are not so much Chinese writers who can also translate, but Eileen Chang is one of them. She, with her powerful creative talent and bilingual skills, has translated diverse works, including a variety of novels, prose and poems, at the same time, she has also made her contributions in compiling movie scripts. Here, the translations will be talked about are her self-translation of Jin Suo Ji (The Golden Cangue) and conventional translation of The Old Man and The Sea.<br /> <br /> Eileen Chang, as a leader of feminist literature in China, the feminism thought profoundly embodied in her literary creation and translation, however, speaking up for women has not limited her exploration of male identity,in the process of depicting the typical characters with different genders, Eileen Chang, as the author or the translator, represents different gender identities.--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 12:33, 22 November 2020 (UTC)<br /> <br /> '''Ⅰ Gender and Translation'''<br /> <br /> Since the rise of feminism in the western continent in the 20th century, the topic of gender has always been placed at the core of its theoretical development. Feminist translation theory thought that between women and translation there was some kind of similarity - both of them were placed in the inferior position. So they combined feminism and translation, advocating from the feminist standpoint, using language to create positive intervention to change women’ s weak position in translation, so that it can criticize the traditional translation theories which degrade women and translation to the bottom of the society or literature phenomenon. During this period, the research on the relationship between gender and translation has seen the influence of gender identity on translation, which is a big development. However, the over-emphasis on the opposition between the two sexes has its limitations.<br /> <br /> As Sherry Simon has pointed out, “Men can adopt the rules of feminist translation theory, and women can successfully translate men’ s works...Another interesting area for study is how gender identity can be disguised through translation” (1996: 168), that is, gender identity can be disguised during translation, or the identity represented by the translator is not a single fixed one.With the development and innovation of various theories, translation studies from the perspective of gender, when developed into the 1980s, under the influence of post-structuralism theory, its focus has shifted from the over-emphasis on the opposition between men and women to the exploration of meaning and gender fluidity.<br /> <br /> This thesis, facing such a change of gender translation studies, aims to study Eileen Chang’ s translations from the perspective of gender liquidity. To some extent, this thesis breaks the status quo that the study on Eileen Chang is onefold about feminism and explores her gender identity transformation in translation to dig out the influences different gender identities make to the translation.<br /> <br /> '''Ⅱ The Gender Identities in Eileen Chang’ s self-translation -- A Case study of the English translation of Jin Suo Ji'''<br /> <br /> As one of the most representative works of Eileen Chang, Jin Suo Ji was once honored as “the greatest novella in the history of Chinese literature” by Xia Zhiqing, while Fu Lei also gave a high evaluation of this work, and he said that it was “one of the most great achievements in our literary world”. In order to perfectly present the culture and thought of the original work, Eileen Chang chose to translate it herself. It took her nearly 10 years to rewrite or self-translate Jin Suo Ji, including four different versions: Pink Tears, The Rouge of The North, Yuan Nv and The Golden Cangue. However, due to the cultural differences between English and Chinese contexts, the English version is far less successful than the Chinese version especially the first two English versions did not receive much attention. It was not until 1971 that her fourth English version was produced and chosen into Twentieth - Century Chinese Stories.<br /> <br /> Eileen Chang’ s works overturns the traditional patriarchal discourse, turning to the female as the center of her literature creation, and in her works, the main objects are those ordinary women who live a tragic life. These works fully show her sympathy to the fate of women, and reflect her intense gender consciousness which is also reflected in her translation.<br /> <br /> '''1. Translator’ s female identity used to show the emotional resonance to female characters'''<br /> <br /> In Jin Suo Ji, Ch’ i-ch’ iao is definitely a beautiful and healthy girl. However, due to the economic reasons and family pressure, she has to marry a disabled husband with an ugly appearance. In the face of such a marriage, Ch’ i-ch’ iao’ s sorrow is obvious, and hoping for love, she turns her eyes to Jiang Jize. However, the reality proves to her that Jiang Jize’ s so-called emotion is just a use. Eileen Chang, as a female translator, is full of sympathy for Ch’ i-ch’ iao’ s situation, and this sympathy is fully reflected in her translation.<br /> <br /> ST： <br /> （七巧的手直打颤，扇柄上的杏黄须子在她额上苏苏摩擦着......）七巧低着头，沐浴在光辉里，细细的音乐，细细的喜悦.....这些年了，她跟他捉迷藏似的，只是近不得身，原来还有今天！<br /> <br /> TT：<br /> ( Ch’ i-ch’ iao’ s hands trembled until the yellow tassel on the fan handle rustled against her forehead...) Ch’ i-ch’ iao bowed her head, basking in glory, in the soft music of his voice and the delicate pleasure of this occasion. So many years now, she had been playing hide-and-seek with him and never could get close, and there had still been a day like this in store for her. <br /> <br /> Comparing the source text with the target text, it can be found that Eileen Chang made three main additions here: “of his voice”, “of this occasion” and “in store” to explicate the implied information in the source text, which more powerfully revealed Ch’ i-ch’ iao’ s strong feelings of love and uneasiness for Jiang Jize all the time. From then on, It can be seen that Qiqiao once placed her hope in Jiang Jize for love. However, from the description in the following text, we can find that for Jiang Jize, the affection with Ch’ i-ch’ iao is just for regulating his life. Eileen Chang clarified Ch’ i-ch’ iao’ s emotion in the translation and revealed Jiang Jize’ s so-called emotion in the later text, which could show the tragic color of Ch’ i-ch’ iao to express the translator’ s sympathy for the character.<br /> <br /> '''2. The Translator’ s Male Identity Used to Show the Passive Position of Women'''<br /> <br /> In Jin Suo Ji, the author used a large number of metaphors and suggestive words to describe the traditional women’ s survival condition. In order to more intuitively present such a state to the readers, Eileen Chang tried her best to translate from the male identity, which to a certain extent derogates the female consciousness of the text, to show the passive and helpless of female characters under a specific era background.<br /> <br /> ST：<br /> 娟姑娘扶了正，做了芝寿的替身。<br /> <br /> TT：<br /> Miss Chuan was made a wife and became Chih-shou’ s substitute. <br /> <br /> The source text describes that after the death of Ch’ i-ch’ iao’ s daughter-in-law Chih-shou, Chuan, as a concubine of Ch’ ang - pai, was supported as his wife. The expression of “扶了正” is full of metaphorical color, “正” is a metaphor for the official wife, and “扶” indicates that Chuan is a passive object controlled by the feudal family. In the translation, Eileen Chang used the passive voice to translate “扶了正” into “was made a wife” to convey the manipulated situation implied in the source text. In addition, here Chang uses the article “a” instead of “the”, just as there will be others to take the place of Chih-shou after her death, the position of the official wife is also low in the feudal family.<br /> <br /> Another typical example in which the translator expressed herself as a male to show the passive position of the female is reflected in the translation of Ch’ ang-an and Ch’ ang - pai’ s separation scene:<br /> <br /> ST：<br /> 长安和长白分了家搬出来住。<br /> <br /> TT：<br /> Ch’ ang-an got her share of property from Ch’ ang - pai and moved out of the house. <br /> <br /> The original describes the scene in which Ch’ ang-an and Ch’ ang - pai split up after Ch’ i-ch’ iao’ s death. Here “分家” is a phrase with metaphorical color, instead of translating it directly into “divide the property”, Eileen Chang, from the perspective of male identity, conceals the hidden information of the original in the translation. She translates the sentence “长安和长白分了家” into “Ch’ ang-an got her share of property from Ch’ ang-pai”, which reveals the fact that in the feudal familyof China, men had the right to inherit the family while women were subordinated.<br /> <br /> '''3. The translator reveals the reality objectively under the disguise of gender identity'''<br /> <br /> In the process of translation, Eileen Chang not only used the identity of male or female to flexibly express the meaning of the original text, but also appropriately concealed her gender identity in some situations to reveal the reality of all characters including both sexes.<br /> <br /> ST：<br /> （去年她戴了丈夫的孝，今年婆婆又过世了。）现在正式挽了叔公九老太爷出来为他们分家。<br /> TT：<br /> （Last year, she wore mournings for her husband and this year, her mother - in - law had passed away.）Now her husband’ s uncle, Ninth Old Master, was formerly invited to come and divide the property among the survivors. <br /> <br /> The source text shows us that after the death of the old woman in power of Jiang Mansion, a group of men and women gathered to separate their families.In the translation of the text, Eileen Chang did not make too many adjustments, but only abstracted the word “他们” which indicates “them” into “survivors”, a word with multiple meanings.Firstly, the survivors were indeed “alive” relative to the old woman who died, so the “survivors” conveyed the meaning of the original text. Secondly, to some extent, in Eileen Chang’ s eyes, both men and women were struggling in the mud in this turbulent era shrouded by feudal ideology, “everyone is a survivor of suffering”. Therefore, she used the word “survivors” to reveal the abuses of the era and sigh over life.<br /> <br /> Due to the work itself has strong female consciousness, therefore, as a translator, Eileen Chang inevitably translates from female perspective most of the time, but this does not mean that female translators do not have the male consciousness, from the second case, we can see that the identity of the translator can be transformed. In addition, the fluidity of the translator's gender identity is not only reflected in Eileen Chang's translation of female texts, but also reflected in her translation of male texts.<br /> <br /> '''Ⅲ. Eileen Chang’ s Gender Identity in her conventional translation -- Taking the Chinese translation of The Old Man and the Sea as an example'''<br /> <br /> The Old Man and the Sea is an outstanding masterpiece of the famous American writer Ernest Miller Hemingway. It was published in 1952 and won the Pulitzer Prize in the second year. In 1954, Hemingway won the Nobel Prize of Literature by virtue of this work. Eileen Chang left Shanghai and arrived in Hong Kong in 1952, just after the publication of The Old Man and the Sea. Invited by the press Office of the U.S. Consulate General in Hong Kong, Eileen Chang began to participate in a large-scale Chinese-translation project of American literary works, including The Old Man and the Sea.<br /> <br /> When it comes to The Old Man and the Sea, in the prologue of its Chinese version, Eileen Chang expressed her affection of this work many times and different from the self-translation in which she has taken a bold rewriting, in the translation of The Old Man and the Sea, Eileen Chang was more faithful to the original, and only presented her subjectivity in the choice of the gender identity. Eileen Chang expressed her understanding of the gender of the source text in the prologue, and then creatively translated the gender-loaded words in the text accordingly.<br /> <br /> '''1. The Translator’ s Female Identity Used to Deepen the Work’ s Emotion'''<br /> <br /> It is undeniable that female translators depict emotions more deeply and delicately than male translators. Therefore, in the process of translating The Old Man and the Sea, Eileen Chang, as a female herself, is particularly adept in showing the emotional characteristics of Sandiego. “...In her translations, she uses rephrasing, color words and onomatopoeia words which are full of feminine characteristics. Those words hint about her feminist thoughts and subtly reveal her identity as a female translator.” (Mao Pingping, 2018)<br /> <br /> ST：<br /> “Come on.” the old man said aloud. “Make another turn. Just smell them. Aren’ t they lovely? Eat them good now and there is the tuna. Hard and cold and lovely.” <br /> <br /> TT：<br /> “再兜一个圈子。你闻闻看。这沙丁鱼可爱不可爱?好好地吃它们吧，不时还可以吃吃那鳍鱼。硬硬的，冷的，可爱的。”<br /> <br /> Here Eileen Chang uses a number of reduplicated words “闻闻”, “可爱不可爱”, “好好地”, “吃吃” and “硬硬的” to translate the dialogue between the old man and the fish, or in other words, the old man’ s self-talk to soften the whole image of Sandiac and also show his loneliness.<br /> <br /> '''2. The translator concealed gender identity to break the arbitrary male discourse'''<br /> <br /> As a work of men power, the word “man” can be found throughout the whole novel, and translation of this word has mainly two kinds of different ways, one is to follow the novel emotional qualitative, translating it into “男子汉” or some words having the similar meaning, and this way is often taken by many male translators. The second way is to expand the scope of objects, translating it into “人” or “人类” which includes both men and women. To some extent, this way blurs gender identity or conceals gender identity to achieve gender balance in the meaning. Eileen Chang adopted the second method in her translation:<br /> <br /> ST: <br /> It is what a man must do．<br /> <br /> TT: <br /> 男子汉就应该这样。(海观译) <br /> 男子汉就该这么干。(吴劳译) <br /> 活总是要干的。(张爱玲译) <br /> <br /> Wu Lao and Hai Guan both translated “man” into the concept of “male”, while Eileen Chang avoided using such words in translation. Here she translated the original text into a sentence pattern without subject, omitted the subject with gender description, and in fact blurred the gender boundary of the words, thus breaking the arbitrary power of male discourse.<br /> <br /> '''3. The translator’ s male identity used to recognize the limitation of male power'''<br /> <br /> For the translation of “man”, Eileen Chang also adopted another translation method:<br /> <br /> ST：<br /> “But man is not made for defeat,” he said. “A man can be destroyed but not defeated.”<br /> <br /> TT：<br /> “但是人不是为失败而生的，”他说。“一个男子汉可以被消灭，但是不能被打败。”（张爱玲译）<br /> “可是一个人并不是生来要给打败的，”他说。“你尽可把他消灭掉，可就是打不败他。”（海观译）<br /> “不过人不是为失败而生的，”他说。“一个人可以被毁灭，但不能给打败。”（吴劳译）<br /> <br /> Here, contrary to the previous example, Hai Guan and Wu Lao translated “man” into “人”, while Eileen Chang translated “man” into “男子汉”which means male, pointing out that “a male can be destroyed”. Compared with Hai and Wu's translation, Chang’ s translation, though excluding the female crowd, emphasizes the limitation of male power.<br /> Eileen Chang's translation is very characteristic. By taking advantage of different gender identities to give play to her translator's subjectivity, Eileen Chang transformed the image of Santiago, a tough man who fought bravely against nature created by Ernest Hemingway in the original text, into the image of a fisherman, a symbol of gender equality and a representative of all mankind.<br /> <br /> Through the self-translation and conventional translation of Eileen Chang, we can see that the gender identity of the translator is not unchangeable, either in the feminist text (Jin Suo Ji) or in the text expressing the male discourse power (The Old Man and the Sea). The translator can adjust his/her gender identity to represent different genders and thus achieve his/her translation purpose.<br /> <br /> '''Ⅳ. Reasons for the change of gender identity in Eileen Chang’ s Self-translation and conventional translation'''<br /> <br /> '''1. The influence of cultural context on the transformation of translator's gender identity'''<br /> <br /> Malinowski, a Polish anthropologist, first put forward the concept of “context” and he divided context into cultural context and situational context. Here the author mainly expounds the influence of the cultural context on the transformation of the translator’ s gender identity in the two literary works Jin Suo Ji and The Old Man and the Sea. “The literary creation of any country or region cannot be separated from the rendering of the corresponding cultural context...A good translation cannot be achieved without a profound understanding of the context of the text.” (Xi Peihua, 2017)<br /> <br /> The creation context of Jin Suo ji is different from that of The Old Man and the Sea, and the social background of the readers of the target language and the source language is also different, which all affect the choice of the translator’ s gender identity.For example, Eileen Chang’ s work Jin Suo Ji reflects the difficult survival of Chinese women in the feudal family under the background of the 20th century. The original text uses many metaphors and suggestive words to describe the traditional women’ s survival, and it’ s not difficult for the source language readers who are in the same social background to understand the indicating meaning of those words, however, when the text is take into a different context while the text content is presented in the same way, it is not easy for the target language readers to understand, just as the expression “分家” in the sentence “长安和长白分了家搬出来住” has not only the surface meaning of “separation” but the implied cultural meaning that “Ch’ ang-an got her share of property from Ch’ ang-pai” which is the hidden information the target language readers won’ t get if the translator did not take appropriate measures to make up for the difference of context.Therefore, in her translation process, Eileen Chang clarifies the cultural characteristics of the source language through the transformation of gender identity.<br /> <br /> '''2. The gender of the translator and the purpose of translation'''<br /> <br /> As a female translator, Eileen Chang’ s female thought is inevitably reflected in her process of translation. And in addition to some potential unconscious female thinking, it is believed that Eileen Chang's adoption of different gender identities is more consciously chosen according to her translation purpose. For example, in the translation of Jin Suo Ji, Eileen Chang translated from the perspective of her own or the gender identity of the opposite sex, with the ultimate purpose of expressing the struggle and survival of the female characters in the patriarchal society and expressing her lament for that era.<br /> <br /> On the other hand, in The Old Man and the Sea, Eileen Chang expressed her different understanding of this work in her translation preface: “The old fisherman showed astonishing perseverance in his struggle with the sea -- not superhuman, but a kind of grace and spirit due to all human beings.”Therefore, Eileen Chang, based on her understanding of the work, attempts to abstract the image of “old fisherman” into all mankind through her translation, and either from a female identity perspective, from a male perspective or conceal her gender identity in her translation the purpose is to soft the male discourse in the original text.<br /> <br /> '''Conclusion:'''<br /> <br /> Through this comparative study on Eileen Chang’ s self-translation and conventional translation, we can see that Eileen Chang, as a female translator, can not only translate feminine literature from a female perspective, but translate male literature from heterosexual gender perspective. On the other hand, in the same literary work’s translation, her gender identity is not fixed, for example, in translating the female literary, in order to better achieve the purpose of translation, the translator can translate from a male perspective. In a word, this thesis provides the corresponding empirical evidence for the fluidity of translator's gender identity, breaking the current situation that the research on Eileen Chang's translation mainly focuses on her feminism.<br /> <br /> '''参考文献'''<br /> <br /> [1]Chang Eileen, trans. The Golden Cangue. Twentieth-century Chinese Stories[M]. NY: Columbia University Press. 1971.<br /> <br /> [2]Simon, Sherry. Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London: Routledge, 1996.<br /> <br /> [3]马悦, 穆雷. 译者性别身份流动性 :女性主义翻译研究的新视角[J]. 解放军外国语学院学报. 2010(6): 66-70.<br /> <br /> [4]毛萍萍. 张爱玲《老人与海》译作中女性主义的东方色彩[J].大众文艺. 2018：171-173.<br /> <br /> [5]欧内斯特· 海明威. 老人与海[M]. 张爱玲译, 香港: 香港今日世界出版社. 1979.<br /> <br /> [6]王璟. 性别意识与文学翻译——张爱玲翻译个案研究[J]. 中国外语. 2011(8): 102-106.<br /> <br /> [7]王晓莺. 离散译者张爱玲的中英翻译——一个后殖民女性主义的解读[M]. 广州:中山大学出版社. 2015.<br /> <br /> [8]席培华. 浅谈语境文化对英美文学翻译的影响[J]. 黑龙江教育学院学报. 2017(10): 121-123.<br /> <br /> [9]张爱玲. 金锁记[M]. 上海印书馆. 1955.<br /> <br /> == Comparison between Nida and Newmark 李丽丽 Li Lili==<br /> <br /> <br /> Abstract<br /> Eugene Nida and Peter Newmark are famous representative of the Western linguists. Their translation theories are based on linguistics. Nida put forward the famous &quot;dynamic equivalence&quot; theory and &quot;functional equivalence&quot; theory, which has made outstanding contributions to the translation of the Bible. Newmark devoted himself to teaching, and put forward some famous theories such as semantic translation, communicative translation and relevance translation. Their translation theories have many similarities and differences. This paper will make a systematic comparison from the same and different points, and represent my own views on their advantages and disadvantages.<br /> <br /> Keywords: Nida; Newmark; similarities; difference<br /> <br /> 摘要<br /> 尤金·奈达和彼得·纽马克是著名的语言学家。他们的翻译理论建立在语言学的基础上，奈达提出了著名了“动态对等”理论和“功能对等”理论，为翻译《圣经》做出了杰出贡献。纽马克一声致力于教学工作，由此提出了著名的“语义翻译”，“交际翻译”，“关联翻译”等理论。他们的翻译理论有诸多相同之处和不同之处。本论文将从相同以及不同之处来进行系统综合的比较，并就其优缺点提出自己的看法。<br /> 关键词：奈达；纽马克；相同；不同<br /> <br /> ==A study on the division of western translation theories 刘柳 Liu Liu==<br /> <br /> ==A comparative study on the translation theory of Eugene. A. Nida and J. C. Catford 陈莎 Chen Sha==<br /> <br /> ==Comparison of translation theories--a case study of Liu Zhongde's translation theory(faithfulness,expressiveness and closeness) and skopos theory 肖伊宁 Xiao Yining==<br /> <br /> ==Comparison of Ezra Pound's and Wen Yiduo's Poetry Translation Principles 徐梦蝶Xu Mengdie ==<br /> &lt;center&gt;徐梦蝶 Xu Mengdie &lt;/center&gt;<br /> ==='''Abstract'''===<br /> Ezra Pound is a representative poet and literary critic at the beginning of 20th Century in western literary world. Together with T.S. Eliot and other important literary figures, he started a new trend in poetry creation and study, and at the same period, China was also experiencing an essential transition from old style poetry to free verse written in vernacular language. Inevitably, associations were build between them. Wen Yiduo's poetic theory was thought to be heavily affected by Pound's but growing out of specific cultural and social background, Wen's theory still has his own features to be distinguished from Pound's.Therefore, it's necessary for us to distinguish these two theories so as to better comprehend both of them.<br /> This paper aims to analyse the differences and similarities between Ezra Pound's and Wen Yiduo's poetry translation theories from contrasts of their translation principles in rhyme, image and structure.<br /> <br /> ==='''Key words'''===<br /> Poetry translation; Wen Yiduo; Ezra Pound<br /> ==='''摘要'''===<br /> 20世纪初,在西方文学世界,埃兹拉·庞德是一位具有代表性的诗人和文学批评家。 他和艾略特以及其他重要的文坛人物一起开创了诗歌创作和研究的新潮流。在同一时期的中国，一场重要的文化运动也正在进行，即从旧诗向白话新诗的转变。这两场运动之间也难以避免地有所联系。人们认为闻一多的诗歌理论深受庞德的影响，但是考虑到闻一多诗歌理论诞生的文化和社会背景，该理论中许多观点和庞德的观点有类似之处和不同之处。因此，为了更好地理解两者，我们有必要进行对比研究。<br /> 本文通过对比分析闻一多和庞德在诗歌韵律，意象，结构三方面的翻译原则，来看两者观点的相同点和不同之处。<br /> <br /> ==='''关键词'''===<br /> 诗歌翻译理论； 闻一多；埃兹拉·庞德<br /> ==='''I.Introduction'''===<br /> 1. Research Background<br /> <br /> With the quick development, China begins to play a much more important role in global stage and naturally the need of recommending Chinese culture to the world has been aroused. From traditional Chinese literary creation to today's modern culture, there is a movement worthy of our attention, that is the vernacular writing movement. At the beginning of 20th century, China is urgently in need to open up and to learn from the western world and some extreme ideas even caused the division between Chinese classical literary composition and modern composition but at the same time Chinese traditional culture was revived by western scholars like Ezra Pound， Amy Lowell， and etc. Ezra Pound published ''Cathy''in 1915 and started imagist movement (1909-1917). Wen Yiduo is a representative of vernacular writing movement，whose first new poem composing might be ''A Rainy Night''(雨夜) and ''Moon and Men''(月亮和人) (闻黎明，2014) and he distinguished himself from the other representatives by his relative complete frame both in literary composition as well as in literary criticism. Besides, Wen Yiduo's personal painting learning experience and his contact with western poets at that time are materials also worthy of discussion.<br /> The reason why these two characters are chosen to be compared in this paper is because, first they lived at the same time period and were both involved in two important literary movements at that time; second, both of them interpreted and applied Chinese traditional poems in modern composition but in different ways. Therefore, comparison on their understandings of poetic translation is a way to comprehend the role of Chinese traditional culture in modern times and to get to know these two poets and translators better.<br /> <br /> 2. Research Method<br /> <br /> Close reading: this paper has collected relative works of Wen Yiduo and Ezra Pound and papers on them at first. By closing reading their works to understand their ways of poem composing and their principles of poetic translation. Works involved in this chapter are,''Complete Collections of Wen Yiduo''(闻一多全集), ''Biography of Wen Yiduo'', ''Cathy'' of Ezra Pound, and etc.<br /> <br /> Comparison study: since there some common points between these two poets and translators, comparisons are made between them to better distinguish them from their roles relatively in vernacular writing movement and in imagist movement as well as their roles in inheriting the old and making the new, and lastly on their poem translation theories.<br /> <br /> ==='''II.Literature Review'''===<br /> Wen Yiduo is widely studied as a new poet composer, painter,classical poetry researcher, as well as a revolutionist. Papers of Wen Yiduo focuse more on him as a poet composer, than on him as a translator and this chapter mainly studies on him as a translator with his poet identity as supplement.<br /> <br /> [[File:A.png]]<br /> <br /> Papers on Wen Yiduo have covered almost all subjects including his multiple identities as well as his further studies on traditional Chinese mythologies, classical poems etc.<br /> From 1970s to today, this chapter chose recent papers on Wen Yiduo as a translator, and we can see from this picture that study on Wen Yiduo continues to be a favor to scholars and in recent years even more papers were published on his translation principles. In 2005, a paper of Lv Jing is a watershed, for he announced a new age of modern metrical poem's coming. Wen Yiduo is a pioneer of metrical poem at the begging of 20th C but he's inevitably constrained by his time and with culture development, and now we are gradually entering a new era of modern metrical poetry(吕进，2005).<br /> Major works often cited by scholars and these two black dots are work of Qian Liqun's (钱理群等，1998) ''Chinese Literature in Recent 30 Years''(中国现代文学30年)and ''Collection on Translation Theories''(翻译论集：罗新璋等，1984)<br /> <br /> As for comparison between Wen Yiduo and Ezra Pound,there are 18 essays published in recent years found within China.<br /> [[File:8.png]]<br /> <br /> There are 18 papers in total and phrases mentioned the most often are &quot;Chinese new poetry&quot;, &quot;poem translation&quot;, &quot;the beauty of painting&quot;. Most of these papers study Wen Yiduo and Ezra Pound from the general comparison between two movements(vernacular writing movement and imagist movement) and there is only one paper directly compares them, which was written by Fu Jianan(傅建安) and Zhang Li（张立） in 2019. In this paper, the authors pointed out that Wen Yiduo was heavily influenced by Ezra Pound, which could be seen from his three principles of beauty: the beauty of music, the beauty of painting, and the beauty of architecture.Besides, they also believed that Wen Yiduo was affected by nationality and creativity of Ezra Pound.<br /> <br /> ===='''III.Discussion'''====<br /> Wen Yiduo is a representative poet and translator in China at the beginning of 20th Century. At that time, China was experiencing a social and cultural upheaval with collapse of the old and emerging of the new. Since Wen Yiduo was born in a family with avant-garde thoughts, he came to get revolutionary idea at an early age. Although Wen Yiduo didn't participate directly into May 4th movement, he demonstrated his firm support of students through a passionate patriotic poem. Clearly, Wen Yiduo's literary creation is indispensable from his social ideas. This could be revealed in his subjects of poems for instance, ''Songs of Seven Sons''(七子之歌), ''Song of the Sun''（太阳吟）, ''Silent Night''(静夜), and etc. As for his ideas in translation which are also closely associated with his understanding in poem composing, basing on his personal learning and experiences. <br /> Wen Yiduo had experienced several transition in his life in poem composing. He was first a poet of classical poems(1916-1925) and had works like, ''Ode on Horse''(马赋), ''Ode on Pine''（松赋), ''Spring Willow''（春柳),and etc. Later influenced by Hu Shi and vernacular writing movement, he devoted himself to new poem writing and criticized that classical poem shouldn't be composed and it should be totally abandoned (评本学年《周刊》里的新诗). After several tries in composing new poems, Wen Yiduo later arrived at America to continue his study on painting and literature. Here he had contact with Chicago poets and American Imagists and this was where his another transition occurred. He then again criticized Hu Shi's absolute abandonment of rhyme and rhythm and advocated to trace back to Chinese classical culture for nourishment and this was partly enlightened by his painting and classical poem study experiences in Chicago and after being back to China, he pioneered in creating metrical poems which associated western new poems' features together with image and structure of classical Chinese poems. He asked for beauty in music, beauty in image, and beauty in Architecture. His best work realized his principles could be seen in Dead Water(死水)(闻一多全集，1993).<br /> Ezra Pound had a same starting point of doing translation which is to find an answer to his epoch, to solve problems existing. He even leveled the importance of Confucianism to the height of Christianism which has unrivalled importance in Western culture. He believed that the &quot;order&quot; and &quot;benevolence&quot; mentioned by Confucius was exactly what was needed to conquer the social plight posed by industrialism, periodic economic crisis, isolation between human beings, and etc.(蒋洪新，2001) Ezra Pound denied that poem translation should be word-to-word translation but to maintain connotations behind it. He decided the name &quot;imagism&quot; for the writing movement in 1912 and later published ''Cathy''in 1915. He was delighted when he discovered Chinese character was full of beauty of images and classical poems like ''The Books of Songs''all could be a good source for imagist movement.<br /> In ''A Pact'', Pound compared Whitman as a father and himself was his son. Although he held some disagreements with his father,they two had to share the same root and sap.Whitman is like Hu Shi in China, who highlighted the importance of free expression, direct use of vernacular language, and relatively neglected the significance of structure, rhyme and rhythm. Wen Yiduo had also mentioned that he disagreed with Hu Shi's composition of absolute free verses in his ''Experiment''(尝试集). To Wen Yiduo, sound and music is what contained in words and only poem, this concise expression, can have more powerful emotions with their syllables. This is natural and artistic (《冬夜》评论).<br /> <br /> ====1. Contrast of Wen Yiduo's and Pound's principles in image translation==== <br /> <br /> Wen Yiduo started painting when he was young and he continued his study of painting in Chicago Academy of Fine Arts. All these experience provided him a chance to paint poems and he had unique understanding of images basing on his study on both classical Chinese poems and new poems. At the beginning of his composing of new poems, poems on nature took a great part of them. Yet he later found that his direct use of a lot of common images in classical poems made his poem too direct and superficial. He therefore decided to use more uncommon images.When he came to America and knew Chicago poets like Carl Sandberg as well as imagists like Amy Lowell, he was affected by their ideas in poem composing.Chicago poets use direct language and free verse to paint out the world in a vivid way. Images are important to Chicago poets but they put rhythm and rhyme in a non-essential position (焦建平，2001). Wen Yiduo therefore, at the earlier period of his poem composing, he paid great attention to image use and also disregarded rhythm and rhyme. Here we have one short poem of his earlier composition:<br /> <br /> 太阳辛苦了一天，<br /> 赚得一个平安的黄昏，<br /> 喜得满面通红，<br /> 一气直往山洼里狂奔。<br /> <br /> This excerpt was from one of his earlier vernacular poem and it's very direct and daily, yet lacking beauty in music, image, and depth, and he soon gave up this style. He agreed with Hu Shi's idea in liberating human mind by literature revolution, but he still enhanced the importance of literary form (北塔，2011). Wen Yiduo therefore, criticize Hu Shi's writing for lack of beauty in music and in image.As a translator, his principles of poem translation are heavily impacted by his identity as a poet. He believed that translator of poem should be a poet himself and the process of translation could be viewed as a process of recreation. Wen Yiduo compared poem composing as traditional Chinese painting; colors blending with colors create new harmonious image and words should be like colors (闻一多，1926). Take Wen Yiduo's poem ''Red Candler''as an example, he used the image of red candler to praise the spirit of selfless sacrifice and affirmed his belief in brightness. From Wen Yiduo's own writing, we could see the transition of his using color image, which shifted from bright ones to dim ones as we can discover from ''Red Candler'' (红烛), ''Reminicence of Chrysanthemum''(忆菊) and ''Color''(色彩) to ''Backwater''(死水). Images of colors in his poems are often studied by scholars. And it is taken as a clear combination of his idea of both painting and poetry composing. And as we've mentioned above that, Wen Yiduo's poetry contained his patriotic idea which is not only shown in subjects but also in his insistence on the form of poetry. As we can see in both ''Reminicence of Chrysanthemum''(忆菊) and ''Backwater''(死水), Wen Yiduo pursued a visual presentation of described pictures. Although Wen Yiduo had studied painting in America, he had shown more free hand sketch in his poem rather then western fine brush work.(辛春生，2011) All his principles in poem composition were applied to his translation later. Wen Yiduo asked for concrete image rather than mystery one which also coincides with Pound's idea. <br /> <br /> ''&quot;这种空空疏疏模模糊糊的描写法使读者丝毫得不着一点具体的印象，当然是弱于幻想力底结果。&quot;（《冬夜》评论）<br /> <br /> &quot;Don’t use such an expression as &quot;dim lands of peace.&quot; It dulls the image. It mixes an abstraction with the concrete. It comes from the writer’s not realizing that the natural object is always the adequate symbol.&quot;(A Few Don'ts by an Imagiste)''<br /> <br /> Ezra Pound can be taken as an orientalist for his love and study on eastern cultures. Before he came to know Chines, he was captured by the conciseness but rich connotation contained in Chinese traditional culture. His interests in Chinese traditional poems was started by ''A History of Chinese Literature ''(Herbert Giles) and later became addicted to it for Fenollosa's introduction of oriental art（郭为，1988). In the process of translating Chinese traditional poem he formed his poem composing principles. He believed that poem should not be written in superfluous words; abstraction should not be mixed with concrete natural symbols; and expressions should be polished with good ornaments.(Ezra Pound, A Few Don'ts by an Imagiste) Pound had many practices of image-using and he was known for his superimposition of images. <br /> <br /> “落叶依于重扃。（落叶哀蝉曲 刘彻）”&quot;A wet leaf that clings to the threshold.&quot; <br /> <br /> This sentence has well shown Pound's superimposition of images.Here &quot;wet leaf&quot; and &quot;threshold&quot; are two different images but the verb &quot;cling&quot; is used well to paint a picture of deep autumn and to arouse the feeling of departure. Even the leaf is hesitating of leaving, how about humans? Both &quot;fallen leaf&quot; and &quot;threshold&quot; are classical image used in Chinese poems. Pound chose concrete images to convey the abstract melancholy just as Chinese classical poem did. In ''Cathy'', ''The Beauiful Toilet'' has shown that Ezra Pound also had his own understanding of color image. &quot;Blue, blue is the grass about the river&quot;, &quot;White, white of face, hesitates, passing the door.&quot; There are 6 duplicated words in original poem but Pound only kept the duplicated form of color words &quot;青青&quot; and &quot;皎皎&quot;, which reflects his high attention to color image although he didn't mentioned that in his essay.<br /> <br /> Both Wen Yiduo and Ezra Pound drew nourishment from classical Chinese poems and attached great importance to image using. Yet, since Wen Yiduo had experiences as a painter, he was more sensitive to color images than Pound, though Pound also had his own preference to images. Therefore, we may assume that Wen Yiduo was affected by imagisma and by Ezra Pound but Wen Yiduo also had his personally preference and choice of image application basing on his understanding of classical Chinese poems and painting just as what was shown in ''Reminicence of Chrysanthemum''(忆菊). <br /> <br /> <br /> ====2. Contrast of Wen Yiduo's and Pound's principle in rhyme translation====<br /> <br /> Wen Yiduo composed poems in classical Chinese with traditional style at first, when he was at school. Later deeply affected by ideas of vernacular poem composing as highlighted by Hu Shi, he accepted that we should liberalize citizen's mind by freeing them from constraints of classical writing and shifted his composing from classical style to vernacular free verse.When Wen Yiduo started his new poem composing, he realized too direct an expression was would lose the hazy beauty. Different from Hu Shi, Wen Yiguo attached great importance to rhyme and rhythm of poems. This might have some association with his experience of Tang poem studies. He appreciated the beauty of classical poem and even believed that it's almost impossible for us to translate these poems into English, or it's a waste of classical poems. To translate Yuefu folksongs, free verse is thought to be the best choice to him, for their similarity in form and translator is given more space to think about rhyme (Wen Yiduo, 1926). As his comment on Shigeyoshi Obata's translation on Li Po's poems, Wen blamed the translator used free verse to translate Li Po's metrical poems.Because Wen himself is a big fan of Li Po, he denied that Li Po's grander style and imposing manner could be kept in free verses(黄焰结，2014). He then practiced his translation believes into his own writings. In the next year(1927), he translated a poem of John Masefield.<br /> <br /> Sea Fever<br /> by： John Masefield<br /> I must go down to the seas again, to the lonely sea and the sky,<br /> And all I ask is a tall ship and a star to steer her by,<br /> And the wheel's kick and the wind's song and the white sail's shaking,<br /> And a gray mist on the sea's face, and a gray dawn breaking.<br /> I must go down to the seas again, for the call of the running tide<br /> Is a wild call and a clear call that may not be denied;<br /> And all I ask is a windy day with the white clouds flying,<br /> And the flung spray and the blown spume, and the sea-gulls crying.<br /> I must go down to the seas again, to the vagrant gypsy life,<br /> To the gull's way and the whale's way, where the wind's like a whetted knife;<br /> And all I ask is a merry yarn from a laughing fellow-rover,<br /> And quiet sleep and a sweet dream when the long trick's over.<br /> <br /> 我要回海上去<br /> <br /> 我要回海上去，再回到荒凉的天涯海角，<br /> <br /> 我要求的是一只楼船，一颗星儿做她的向导，<br /> <br /> 还有龙骨破着浪，风声唱着歌，白帆在风里摇，<br /> <br /> 海面上一阵灰色的雾，一个灰色的破晓。<br /> <br /> 我要回海上去，因为那一阵潮水的呼声<br /> <br /> 是狂暴的呼声，嘹亮的呼声，你没有法子否认<br /> <br /> 我要求的是一个刮风的天儿，还飞着些白云，<br /> <br /> 再加上海水翻着浪花儿，海鸥也在叫你。<br /> <br /> 我要回海上去，再过那漂泊的生涯才好！<br /> <br /> 走上海鸥的道，鲸鱼的道，那里的风像把快刀；<br /> <br /> 我要的是做完了的活，大伙儿谈着天儿说着笑，<br /> <br /> 临了，来一场甜蜜的梦，一宿安稳的觉。<br /> <br /> John Masefield's Sea Fever is a rhymed poetry and Wen chose end rhymed to echo the original version, in order to achieve the musical beauty in poem. Besides a lot alliterations &quot;a star to steer/ a clear call,and etc.&quot; are used in the original poem to form the enormous power and repetition is another figure of speech in this poem, &quot;I must go down to the seas again&quot;, which could emphasize the poet's emotion.To maintain the original feature, Wen Yiduo kept the original repetition and parallels in translation. Wen Yidou thought that art is what human decoration plus natural beauty and in his translation, to achieve the parallel structure and concise expression, he had chopped off unnecessary conjunctions and shift the order of words coordination. For example, &quot;I must go down to the seas again, to the lonely sea and the sky,<br /> And all I ask is a tall ship and a star to steer her by,&quot; &quot;again&quot; this world was shifted into the latter part of the translation and &quot;lonely sea and the sky &quot; was translated as a Chinese four-character idiom &quot;天涯海角&quot;. &quot;To steer&quot; this infinitive was translated as a verb-object structure-&quot;做她的向导&quot; to ensure the balance of translation. Compared with the original version, we can discover the translated version even more concise and has clear beat to form the music. To form parallel structure and clear rhythm, Wen Yiduo had added some decorative elements or eliminate some unimportant elements to achieve his ideal music. “龙骨”，“风声”，“白帆”are words chosen by translator basing on original expression, in order to match both requirements of images and readability. “还”，“临了”，“天儿”， these are words added by transaltor which are rich in Chinese culture and are tainted by vernacular feature , which can help to achieve an effect of balance between loose and tense within poem. Wen Yiduo believes that poems should have multiple rhythms serving for one theme and this can help to catch reader's attention and arouse emotions. It's more natural and in this poem, it well conforms to the rhythm of waves(诗歌节奏的研究).<br /> Different from Wen Yiduo's insistence on the rhyme and rhythm of poems, Ezra Pound believed that &quot;It is not necessary that a poem should rely on its music, but if it does rely on its music that music must be such as will delight the expert.&quot; (Ezra Pound, A Few Don'ts by an Imagiste) Take ''The River-Merchant's Wife: a Letter''as an example, Pound translated Chinese poem more into a prose than a rhymed poem, and to this extent his emphasize is more on the other sides as what was said by himself that he agreed that music was important but he didn't take it as a priority. He believed that poems could be divided into three kinds, and poems of sounds is one of the three. Poems of sounds could be appreciated without translation for its musicality and it, to some extent is untranslatable. But he regarded images are conveyable and was devoted to it. <br /> Thus we can see, Rhyme and rhythm are as important as images to Wen Yiduo, for he thought these were also necessary ways to convey emotion and to arouse feeling. Wen Yiduo asked for not only beauty in image but also beauty in music and he showed no preference between these two, yet, to Pound, as what was said in ''A Few Don'ts by an Imagiste'', &quot;It is not necessary that a poem should rely on its music&quot;. Wen Yiduo attached so much importance to music, so that he once said some five-character quatrains of Li Po could not be translated into another language. For he believed that Li Po's five-character quatrains were ancient soul in modern cover with decorations. The beat and syllables form the imposing manner of his poem so once these verses were transplanted into another container, the favor might be lost. (英译李太白诗，1926)<br /> <br /> ====3. Contrast of Wen Yiduo's and Pound's principles in translation of architecture====<br /> <br /> Pound studied both Chinese poems and Japanese poems. Therefore the structure of his translations can often be traced back into parallelism of Chinese poem as well as the Japanese Haiku. <br /> <br /> In a Station of the Metro<br /> The Apparition of these faces in the crowd;<br /> Petals on a wet, black bough.<br /> <br /> This is one of Pound's most famous poems and Pound took it as his proud work of imitation of Japanese Haiku. However, some scholars hold a different view, like Wu Di, he thought this poem is more close to imitation of Chinese parallel sentence. He listed reasons as: First, there are parallel compositions like time and space and color contrasts of bough and petals. Second, Wu thought that metrical unit of this poem is &quot;word&quot;, which is distinct from &quot;syllable&quot; in English poems and Japanese Haiku. Haiku highlighted more artistic conception than metrical harmony.Besides, this poem paid more attentions to the notional words than functional words. (吴笛，2007)<br /> Pound's translation of poems are influenced by forms of folk songs, sonnets, Greek-style lyric poems, and elegy, etc. and it can be traced back to Provence love song, Japanese Haiku and Chinese traditional poetry.(王贵明，刘佳，2006) <br /> <br /> Wen Yiduo is the pioneer of new metrical poems in China and asked poets to learn from western metrics and combined it with Chinese traditional poems. He advocated that the highest form of art should be &quot;pure form&quot;. So he appealed to &quot;beauty of architecture&quot; and in Chinese architecture, balance is taken as beauty in tidy form which is also asked for in poem by him(陈历明，2016). Wen Yiduo once said that in Chinese aesthetic appreciation, balance was very essential, we could see it in both architectures and poems. Pattern, syntax, diction and coordination are elements required in a well composed poem. <br /> <br /> Thursday<br /> ——Edna St. Vincent Millay<br /> <br /> And if I loved you Wednesday, <br /> Well, what is that to you?<br /> I do not love you Thursday— <br /> So much is true. <br /> And why you come complaining <br /> Is more than I can see.<br /> I loved you Wednesday,<br /> —yes—but what Is that to me?<br /> <br /> 礼拜四<br /> 即使我礼拜三爱你，<br /> 你管它做什么？<br /> 礼拜四我并不爱你，<br /> 却一点也不错。<br /> 我真不懂，你何为还<br /> 找着我来纠缠。<br /> 礼拜三我爱你—对—<br /> 可是那与我又何干？<br /> <br /> This is a poem translated by Wen Yiduo which reflects his ideas in poem translation, especially in achieving beauty in architecture. First this poem consists of two stanzas and in each stanza, the second and the fourth lines are shorter than the first and the third lines. We can see that the translator maintained the original form of the poem into the translation but did a little alternation to achieve a better presentation. In this sentence, &quot;—yes—but what/Is that to me?&quot;, to balance the length of sentences, the translator shift the word &quot;—yes—&quot; into the verse before the last one, &quot;礼拜三我爱你—对—&quot; to match the number of words. Another instance in this poem is this sentence -&quot;And why you come complaining/Is more than I can see&quot;. To ensure the balance of two stanzas, the translator broke the sentence, &quot;你何为还找着我来纠缠&quot; into two verses,&quot;你何为还/找着我来纠缠&quot;. Besides, there is a semantic symmetry designed by the translator. There is no obvious transitional word before the last line of the first stanza but has a dash to indicate it, therefore the author added &quot;却&quot; to echo &quot;可是&quot; in the last line of the last stanza and replace the dash to achieve the balance in form as well as in meaning. All these efforts of the translator are devoted to achieve the aesthetic sense in architecture.<br /> In one word, both Wen Yiduo and Ezra Pound ask for beauty in form but they draw their nourishment from different places and have different focus, for example, Ezra Pound learned and composed Provence love poems and Japanese Haiku. In ''Cathy'', we can see that many classical Chinese poems were translated into prose which are more loose but in Wen Yiduo's translation, he highlighted the balance of structure and was stick to Chinese traditional sense of beauty in architecture. <br /> <br /> ====4.Conclusion====<br /> To sum up, Ezra Pound as a imagist had absorbed elements in Chinese traditional culture and reinterpreted Chinese images in his translation. What should be emphasized is that his understanding of Chinese poems and images come from Fenollosa's writing which is rewriting of Fenollosa's writing. In translation, Ezra Pound asked for artistic conception through image superimposition. And as for his form of translation, it's more loose than Wen Yiduo's for Ezra Pound though required order in literary works, he didn't take &quot;order&quot; as &quot;balance&quot;. His order may exist in his position of images but it does not have to be balance in number of words or pattern of expressions. Being a fan of Li Po, Wen Yiduo even though influenced by vernacular writing movements, Chicago poets and imagist movements, he advocated the importance of form and highlighted artistic feature of poems, the metric, which was a combination of the old and the new. <br /> Basing on comparisons of Ezra Pound and Wen Yiduo in these three aspects, we come to know that Wen Yiduo was influenced by imagist movement and he did pay high attention to image-using later in his works but Wen Yiduo's literary understanding should also be attributed to his personal growing background, China's social environment at that time and his life experience. Before his identity as a poet, he is a patriotic citizen. Wen Yiduo's literary works have a solid patriotic foundation and that's why he always tried to maintain Chinese traditional culture and spread Chinese culture through literary creations. This explains elements of Chinese traditional painting and Chinese aesthetic sense of architecture in his poems as well as specific Chinese images contained in his poems like chrysanthemum, candler, red bean, etc. We shall better say that Wen Yiduo and Ezra Pound are two poets and translators born in a similar social environment rather than saying one is totally the other's imitator. Since they two have their unique culture background and are both passionate lover of Chinese poems, they naturally share some common features in literary presentations but there are also distinctions reflecting their own culture identity like we can discover in both their compositions and translations.<br /> <br /> ==='''V.Reference '''===<br /> <br /> Ezra Pound. Cathy. London: Elkin Mathews, Cork Street Mcmxv.<br /> <br /> 北塔.略论闻一多诗歌之英文翻译[J].中国现代文学研究丛刊,2011(12):97-108.<br /> <br /> 陈历明.闻一多的诗歌翻译与格律诗学的生成[J].文艺理论研究,2016,36(01):64-75.<br /> <br /> 郭为.埃兹拉·庞德的中国汤[J].读书,1988(10):104-110.<br /> <br /> 蒋洪新.庞德的翻译理论研究[J].外国语(上海外国语大学学报),2001(04):77-80.<br /> <br /> 焦建平.卡尔·桑德堡与“意象主义”[J].西北大学学报(哲学社会科学版),2001(04):134-137.<br /> <br /> 黄丽娜. 闻一多诗歌翻译研究[D].湖南师范大学,2013.<br /> <br /> 黄焰结.英译李太白——闻一多与小畑薰良译诗对话的文化考量[J].外语教学与研究,2014,46(04):605-615+641.<br /> <br /> 吕进.三大重建:新诗,二次革命与再次复兴[J].西南师范大学学报(人文社会科学版),2005(01):130-135.<br /> <br /> 孙党伯 袁春正，闻一多全集. 武汉：湖北人民出版社 1993.12<br /> <br /> 吴笛.论庞德“在地铁车站”中的汉诗特性[J].外国文学研究,2007(05):53-57.<br /> <br /> 王贵明,刘佳.今韵古风——论埃兹拉·庞德诗歌翻译和创作中的仿古倾向[J].北京理工大学学报(社会科学版),2006(06):79-85.<br /> <br /> 闻黎明，闻一多年谱. 北京：群言出版社 2014.11<br /> <br /> 辛春生.闻一多《忆菊》诗的绘画美新探[J].名作欣赏,2011(35):28-29.<br /> <br /> ='''Theories'''=<br /> <br /> <br /> ==Passive and hypotaxis- Chinese Culture and CE translation 杨海容 Yang Hairong==<br /> ===1.Concepts of Passive in Chinese and English===<br /> <br /> ==On metaphors 游雨婷 You Yuting==<br /> <br /> ==The Brief Introduction of Linguistic School and its Representatives 王源 Wang Yuan==<br /> <br /> ==Polysystem and Cultural Turn 吴琪 WuQi==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ='''Translation Aesthetics'''=<br /> <br /> <br /> ==Aesthetic Representation of Two Versions of Wang Wei's ''Niao Ming Jian'' from the Perspective of Translation Aesthetics 凌子瑾 Ling Zijin==<br /> &lt;center&gt;凌子瑾 Ling Zijin &lt;/center&gt;<br /> ===Abstract===<br /> Wang Wei is a master of landscape poetry, and his poems have important aesthetic value. ''Niao Ming Jian'' is a representative work of his landscape poetry, which has a relatively high aesthetic significance. Aesthetic reproduction is an important factor to judge the success of a translation. Based on Liu Miqing's theory of translation aesthetics, this paper makes a comparative analysis of the two English translation versions of ''Niao Ming Jian'' to explore how these two translators make the aesthetic elements in the source text reproduced in the target text.<br /> <br /> ===Key words===<br /> Translation Aesthetics; Aesthetic Representation; Poetry Translation; Comparative Study<br /> ===摘要===<br /> 王维是山水诗的集大成者，其诗歌具有重要的美学价值，《鸟鸣涧》是王维山水诗中的代表作品，具有较高的美学研究意义。审美再现是评判译文是否成功的重要因素。本文从刘宓庆的翻译美学理论出发，对《鸟鸣涧》的两个英文译本进行对比分析，探究不同的译者是如何使得原文中的美学要素在译文中得到再现的。<br /> ===关键词===<br /> 翻译美学；审美再现；诗歌翻译；对比赏析<br /> ===1.Introduction===<br /> With the increasingly close communication between China and the international community, the translation of poetry has become an important part of telling Chinese stories. Translation is the basis for the international dissemination of literary works. Translation is one of the ways of information transmission, which is not only a technology, but also an art. Poetry itself is a literary and artistic form with aesthetic thoughts. Due to the close relationship between poetry translation and beauty, whether the translation can convey the beauty of the original poem has become the main criterion to judge whether the translation is good or not. On this point, Liu Miqing proposed translation aesthetics and systematically explained this subject in his An Introduction to Translation and Aesthetics. He incorporated aesthetics into translation and proposed to reproduce the beauty of the original text in translation.<br /> Inheriting from Tao Yuanming and Xie Lingyun and laying a foundation for the landscape poetry in Song Dynasty and Yuan Dynasty, Wang Wei's landscape poetry represents the highest achievement of landscape poetry in the flourishing Tang Dynasty. In the history of the development and the aesthetic formation of Chinese classical poetry, it has an influence and status that cannot be underestimated. ''Niao Ming Jian'' is the representative work of Wang Wei's landscape poems, so its aesthetic value is self-evident. Written in the stable and unified Tang Dynasty, this poem focuses on the tranquil beauty of the spring mountain at night. In this poem of Wang Wei, you can not only see the charming environment of the spring mountain dotted with bright moon, falling flowers and birds, but also feel the peaceful and stable social atmosphere of the Tang Dynasty.<br /> Both Yang Xianyi and Xu Yuanchong have made great contributions to translation studies. The two translators are recognized for their translation skills, but they have different views on literary translation, which can be seen from the comparative study in chapter 4. From the perspective of translation aesthetics, this paper takes ''Niao Ming Jian'' and its two English versions as research objects to explore how the two translators realize the aesthetic representation of the Chinese version in their English translation.<br /> ===2.Translation Aesthetics===<br /> In the history of Chinese literature, the earliest development of translation aesthetics can be traced back to the time of the Three Kingdoms. At that time, someone proposed that &quot;it is necessary to follow the essence without decorations&quot;. Up to now, there have emerged such related aesthetic translation theories as &quot;faithfulness, expressiveness and elegance&quot;, &quot;spirit likeness&quot; ,&quot;delivering&quot; and “principle of three beauties” . In A Dictionary of Translation Studies of Fang Mengzhi, translation aesthetics is defined as: revealing the aesthetic origins of translation studies, discussing the special significance of aesthetics to translation studies, interpreting the scientific and artistic nature of translation with the aesthetic point of view, putting forward standards of beauty in translating texts with different style using the basic principle of aesthetics, analyzing and solving the aesthetic problem in dealing with interlingual transference.Translation aesthetics is the marriage of translation and aesthetics. Almost all traditional translation theories in China are related to aesthetics, and translation aesthetics is one of the basic characteristics of Chinese translation studies. Based on Chinese traditional aesthetics, translation aesthetics, starting with the aesthetic subject and object of translation, not only emphasizes the aesthetic information on the level of sounds and words, analysis of the rhythm, rhyme and translation methods, but also explores the aesthetic factors of emotion, aspiration, meaning and image in the non-formal system, thus laying a practical theoretical foundation for translation aesthetics. From the perspective of translation aesthetics, the purpose of translation is to achieve aesthetic representation between languages. Translation is an artistic experience of perceiving, understanding, transforming and reproducing the aesthetic information of the translation object (source language).<br /> The concept of translation aesthetics was put forward by Professor Liu Miqing in 1994. At first, it combined aesthetics and translation to examine the aesthetic feeling of ancient poetry translation. In An Introduction to Translation and Aesthetics, Liu Miqing specifically explains the general process and specific strategies of translation aesthetics. According to Liu Miqing, &quot;the theories and propositions of traditional Chinese translation theory are basically derived from Chinese classical philosophy and aesthetics, especially classical literature and art&quot;. In addition, he also stressed that &quot;theoretical proposition and methodology of Chinese translation theory can be traced back in Chinese classical philosophy and aesthetics.” The aesthetics as the theoretical basis of translation, not only pay attention to the correspondence at the language level, but also the correspondence of the beauty represented in the target text and that in the original text, in order to show the beauty of the original text as possible.<br /> Translation aesthetics holds that translation contains the aesthetic subject and aesthetic object. The aesthetic subject refers to the reader and translator of the text, while the aesthetic object refers to the target language text and the source language text. By subjectively transforming the source text, the aesthetic subject maximizes the aesthetic value of the source text into the target text in the process of transforming one language text to another, so as to ensure that the aesthetic elements in the source text can be reproduced in the target text. In An Introduction to Translation and Aesthetics, Liu Miqing divides aesthetic object into formal system and non-formal system, that is, aesthetic appreciation of the linguistic form of the original text and the emotion expressed in the text. The beauty in the linguistic form (including pronunciation) of the original text is aesthetically called the beauty in the form of material existence, which is usually &quot;intuitive and sensible&quot; and generally appeals to people's vision and hearing. In the aesthetic composition of the original text, what opposed to the representational elements is the non-representational elements. The non-formal beauty of the original language has no direct relationship with the language form, and it is usually non-intuitive. Because it is not directly reflected in the structure and form of words, sentences and sentence groups, it is usually &quot;uncounted&quot;, which is called &quot;non-quantitative factor&quot;. The aesthetic composition of linguistic forms can often be counted, such as the number of parallel sentences, rhymes and figures of speech in a paragraph. Generally speaking, it can be counted to obtain a number, the non-formal beauty of language can not. It is impossible for us to get any quantitative results after analyzing the temperament of a text, such as artistic conception, beauty, momentum, modality, charm, style and so on. But these elements are crucial to the aesthetic value of a text. In short, from the perspective of aesthetics, these non-formal aesthetic compositions of a language is called non-quantitative obscure collection. In Chinese classical poetry, the concentrated expression of this collection is artistic conception.<br /> The &quot;representation&quot; of aesthetic representation is to transform the source language into the target language, and the aesthetic representation is to transform the beauty of source language into the beauty of the target language. The essence of the representation in the art of translation is to transform the introspective understanding of the source language text (SL) into an explicit and intuitive form (TL), that is, to find the best artistic expression form for the source language.<br /> ===3.Appreciation of ''Niao Ming Jian''===<br /> The original text of ''Niao Ming Jian''<br /> <br /> 人闲桂花落，<br /> <br /> 夜静春山空。<br /> <br /> 月出惊山鸟，<br /> <br /> 时鸣春涧中。<br /> <br /> The main idea of this poem is: in this quiet place, sweet osmanthus flowers gently fall in the quiet night, making the spring forest more empty and quiet. As the moon rose, it made the birds who was perching among the trees to sing, with their crisp calls reverberating through the open mountain stream. This poem is supposed to be written between 713 and 741 ( The Flourishing Kaiyuan Reign Periond of the Tang Dynasty), when the poet was in a trip to the regions near the Yangtze River. This poem is the first of five poems written by Wang Wei in yunxi Villa where his friend Huangfuyue lived. It is the work about the poet’s life in Wuyunxi (namely Ruoyexi), southeast of Shaoxing County. The poem describes the quiet and beautiful scenery in the mountain on a spring night, and focuses on the tranquility and calmness of the spring mountain at night. The whole poem is intended to highlight the tranquility, but Wang Wei treated it by moving scenes. This kind of technique of contrast shows the poet's meditative mind to a great extent.<br /> &quot;人闲桂花落，夜静春山空&quot; is the poet’s depiction of scenery by sound, which skillfully uses the technique of synesthesia to combine the dynamic scene “花落” and &quot;人闲&quot; together. Both the blossom and fall of the flowers belong to the sound of nature. Only people who let their hearts really free down, put down the sincere infatuations to worldly thoughts can promote their spirits to a state of “空”. It was late at night, obviously the viewer could not see the falling scene of osmanthus, but because of the &quot;夜静&quot; and the calmness of heart of the viewer, he can still feel the blooming osmanthus falling off the branches, floating down and landing. And we readers also seem to have entered a &quot;fragrant forest and flower rain&quot; scenery. The &quot;春山&quot; here also leaves room for us to imagine, because it is &quot;春山&quot;, we can imagine the noisy picture of the day: singing birds, green trees, lovely flowers, children’s laughter and so on. When night falls, the environment becomes quiet, the tourists leave, the daytime noise disappeared, the mountains are empty. In fact, &quot;空&quot; not only refers to the empty of the mountain, but also the heart of the poet because only people who have free and easy mood can capture the scene that others can not feel. The last two lines “月出惊山鸟，时鸣春涧中” describe a dynamic scene to highlight the quietness of the mountain stream. “惊” and “鸣” seem to break the tranquility of the night, but in fact serve as a foil to describe the empty and leisure in the mountain by sounds. The moon emerges behind the clouds, quiet moonlight streams down, a few birds awake from their sleep and twitter from time to time. These beautiful things, with the spring streams running in the hill, put a colorful picture in front of the reader and has the similar effect with the &quot;蝉噪林逾静，鸟鸣山更幽&quot; of Wang Ji(a poet of Liang Dynasty). The birds, of course, accustomed to the silence of the mountain, seemed to have a kind of freshness and excitement when the moon rises. But the brightness of the moon changes the landscape immediately before and after its rise. The so-called &quot;月明星稀，乌鹊南飞&quot; (from ''Duan Ge Xing'' of Cao cao) is available for readers to associate. But Wang Wei was in the heyday of Tang Dynasty, which was different from the chaos of war in the Jian 'an Period in which even birds and animals could not help feeling nervous. The background of Wang Wei's &quot;月出惊山鸟&quot; is a stable and unified society in the prosperous Tang Dynasty. Although the birds suffer from shock, it is by no means the kind of shock like &quot;绕树三匝，无枝可依&quot;. They will not fly out of the spring stream, or even take off at all, but occasionally chirp among the trees. &quot;时鸣春涧中&quot;, they are not so much &quot;startled&quot; as feel fresh to the moon. Therefore, if we compare ''Niao Ming Jian'' to Cao cao's ''Duan Ge Xing'', in Wang Wei's poem, you can not only see the charming environment of the spring mountain dotted with the bright moon, falling flowers and birds, but also feel the relatively more peaceful and stable social atmosphere of the Tang Dynasty.<br /> In his landscape poems, Wang Wei inclines to create a quiet atmosphere, which is also true of this poem. But what this poem is about is the falling of flowers, the rising of the moon and the singing of birds. These moving scenes not only make the poem full of vitality but also highlight the tranquility of the spring stream by dynamic scenes. Moving scenes, on the contrary, have a static effect, because the two sides of an object in conflict are always interdependent. Under certain conditions, the reason why movement can occur, or can be noticed by people, is based on the premise of static environment. &quot;鸟鸣山更幽&quot;can be seen as an entity containing dialectics of art.<br /> ===4.Appreciation of Two English Versions of ''Niao Ming Jian''===<br /> (1) The Gully of Twittering Birds <br /> <br /> Yang Xianyi<br /> <br /> Idly I watch the cassia petals fall;<br /> <br /> Silent the night and empty the spring hills;<br /> <br /> The rising moon startles the mountain bird<br /> <br /> Which twitter fitfully in the spring gully. <br /> <br /> (2)The Dale of Singing Birds<br /> <br /> Xu Yuanchong<br /> <br /> I hear osmanthus blooms fall unenjoyed;<br /> <br /> When night comes, hills dissolve into the void.<br /> <br /> The rising moon arouses birds to sing;<br /> <br /> Their fitful twitter fills the dale with spring．<br /> <br /> ====4.1 Formal System====<br /> The formal system of poetry mainly consists of rhyme and form, an audible one and a visual one, both of which are objective and perceptive. The existence of the formal system is the basis for poetry, that is, the reason why poetry is poetry rather than any other literary genre is that it has its own unique formal system. Therefore, most translators advocate translating poetry into poetry in order to represent the beauty of the poetic form. Below, the author will appreciate the two English versions by Yang Xianyi and Xu Yuanchong from the two aspects of rhyme and form.<br /> =====4.1.1 Beauty of Rhyme=====<br /> Zhu Guangqian thinks that &quot;poetry is a pure literary form with melody&quot;. In literary works, especially in poetry, sound is the most basic unit of delivering aesthetic value. Although the translator cannot find the phonetic rules corresponding to Chinese poetry in English language, he can reproduce the &quot;phonetic beauty&quot; of the original poem by using English language rules. The beauty of rhyme in poetry mainly includes the beauty of rhythm and rhyme. First of all, in terms of rhythm, the original poem basically conforms to the basic meter of rhythmic poetry. In Yang Xianyi's translation (hereinafter referred to as translation 1), the rhythm of the poem is roughly as follows:<br /> <br /> /--/--/-/-/（11） /--/--/--/-（11）<br /> <br /> -/-//--/-/（10） -/-/--/-//-（11）<br /> <br /> In dealing with each line, translator basically take the trochaic form. Although its antithesis is not neat but it is easy to read, largely represents the musical aesthetic feeling of the original poetry. Besides, the trochaic rhythm can give readers a kind of feeling that firstly there is a sound, and then fell silent, which is in accordance with the tranquil atmosphere in Niao Ming Jian. The rhythm of Xu Yuanchong's translation (hereinafter referred to as translation 2) is roughly as follows:<br /> <br /> -/-/-/-/-/（10） -/-/-/-/-/（10）<br /> <br /> -/-/-/-/-（9） -/-/-/-/-/（10）<br /> <br /> The translator adopts iambic pentameter to translate the poem, which has a strong sense of rhythm and can be called as a standard English metrical poem. In terms of the representation of rhythm, both translation 1 and translation 2 are well done, while the rhythm of translation 2 is more in line with the characteristics of the original poem, so translation 2 is better.<br /> The rhyme in poetry is an important factor at the level of rhythmic beauty. Rhyme can make the rhythm of a poem produce harmonious auditory aesthetic satisfaction. In terms of rhythm, the original poem strictly adheres to the rhyming rules of Lüshi (poetry). The rhyme at the end of the second and fourth lines is used to create a echoing effect of distant bells in the mountains, making the mountain seem more empty and lonely. In translation 1, the translator uses many assonance in his lines, such as &quot;silent&quot;, &quot;night&quot; in the second line; &quot;Fitfully&quot; and &quot;gully&quot; in the fourth line. The translator also used alliteration, such as &quot;idly&quot;, &quot;I&quot; in the first line; &quot;moon&quot;, &quot;mountain&quot; in the third line. However, translation 1 does not rhyme at the end of the line. It has the advantage of being free from the restrictions of meter and the language is accurate and fluent. But it also has disadvantage that it loses the beauty of rhyme to some extent. As for the translation 2, we can find the end rhyme of the translation 2: /d/ in the first and second line; /ing/ in the third and fourth line. And the rhyme scheme of this translation is aabb. This scheme type can convey the rhythmic beauty of Chinese traditional poetry for its end rhyme is complete. In addition, the first two lines of poetry end with a phone /d/, giving us a feeling of an abrupt stop. The last two lines end with/ing/, leaving a sense of melody for the reader, which is in line with the /ong/ rhyme in the original poem. It can be said that in terms of conveying the rhythmic beauty of the original poem, translation 2 not only represents the original poem, but also makes the target text sounds better than the original one. Therefore, compared with translation 2, translation 1 is slightly inferior in representing the rhythmic beauty of original poem.<br /> =====4.1.2 Beauty of form=====<br /> Liu Miqing (2005) believes that the beauty of symmetry and antithesis in Chinese classical literature can be called &quot;The elegance of Beauty&quot;, which is unique to Chinese. Externally, the four lines of the original poem, with five words in each line, form regular rectangles. From the inside, we can see that the first line and the second line form a parallel structure: “人闲” and “夜静”; “桂花” to “春山”; “落” to “空”. Antithesis constitutes the important factor of the beauty at the level of the form.<br /> The beauty of the translated poem at the level of form is that its words and sentences are in accord with the length and symmetry of the original poem in antithesis and meter. In the translation 1, the number of words in each line is 7, 8, 7,and 7. In translation 2, the number of words in each line is 6, 8, 7 and 8. Both versions conform to the formal characteristics of the poem. From the appearance of the two translations, both of them have achieved the demand to translate poetry by poetry ,representing the formal characteristics of the original poem; In terms of syllables, the number of syllables in each line of translation 1 is 11, 11, 10 and 11. The number of syllables in each line of translation 2 is 10, 10, 9 and 10. Both of the form of the two translations are in compact structure, thus achieving the representation of beauty of the original poem. In addition, the third and fourth lines of translation 2 adopt parallel structure, which to some extent represents the antithesis beauty of the original poem.<br /> ====4.2 Non-formal System====<br /> The non-formal system of poetry is mainly embodied in the artistic conception of poetry. Artistic conception is an important category in Chinese poetics. Artistic conception consists of two aspects: meaning and context. Meaning refers to subjective thoughts and feelings, while context refers to objective life and scenery. In artistic works, meaning and context blend together to form artistic conception. The conveying of artistic conception is directly related to the intuitive and sensible overall linguistic image, but the essence of its beauty is not intuitive and sensible. It usually comes from the feeling, ambition, intention of the artist and the overall artistic beauty of the work, which can easily remind us of the so-called &quot;不著一字，尽得风流&quot;. In poetry, the meaning that a poet wants to express is often conveyed through the images in ancient poems, which are either embodied in scenery or embodied in things. Therefore, when translating Chinese ancient poems, finding the right images is the key point to catch the artistic conception of the whole poem. In order to achieve the aesthetic representation of artistic conception in the translated poem, the translator's poetic sentiment, knowledge of literature and language skills are indispensable. Sometimes the inaccurate translation of a word will change the whole artistic conception and cause the translation to deviate from the original text. In the process of translating poetry, the representation of rhyme and form is the basic step, and that of artistic conception is the completion of the task of translating poetry.<br /> =====4.2.1 Beauty of artistic conception=====<br /> Yang Xianyi and Xu Yuanchong, the translators of the two translations selected in this paper, have different views on the transfer of the beauty of artistic conception. When talking about the principle of literary translation, Yang Xianyi points out that the general principle is that the content of the original text should not be increased or decreased. He has emphasized the principle of faithfulness for many times, saying that &quot;the translation must be very faithful to the original one&quot;. He doesn't think the translator should explain too much when translating. The translator should try to be faithful to the image of the source text, neither exaggerating nor carrying anything else with it. If there is no equivalent in translation, some of the meaning of the original must be sacrificed. Xu Yuanchong, on the other hand, believed that among the beauty of sound, form and meaning, meaning was the most important, followed by sound and form. Translators play two roles in the process of translation: text reader and text producer. Translators must give full play to their subjectivity on the basis of a deep understanding of the content and aesthetic value of the original text, and creatively reproduce the verve and artistic conception of the original text, so that the readers of the translated text can truly experience the beauty in reading. In the following, the author will start from the title and analyze the two translators' representation of the artistic conception of the original poem.<br /> The title of the original poem is &quot;鸟鸣涧&quot;, which is a modifier-head structure. In this structure, &quot;鸟鸣&quot; modifies &quot;涧&quot;. This structure emphasizes the static state of the noun &quot;涧&quot;. Translation 1 and 2 respectively translate the title as two noun phrases &quot;The Gully of Twittering Birds&quot; and &quot;The Dale of Singing Birds&quot; , which are similar to the modifier-head structure of the original poem. The head nouns &quot;The Gully&quot; and &quot;The Dale&quot; are modified by &quot;of Twittering Birds&quot; and &quot;of Singing Birds&quot;, highlighting the quiet state of the mountain, which conforms to the artistic conception of the original poem. Two title is identical structurally, but differ in the words used. The translation 1 translates &quot;涧&quot; as &quot;gully&quot;, which the Oxford Advanced Learner's English-Chinese Dictionary (hereinafter referred to as &quot;the dictionary&quot;) interprets as: &quot;a small, narrow channel, usually formed by a stream or by a rain&quot;. &quot;涧&quot; in the Xinhua Dictionary is defines as a gutterway in the mountain, so the translation 1 corresponds to the original poem; Translation 2 translates &quot;涧&quot; into &quot;dale&quot;, which is defined as &quot;Valley, ESP, in Nortern England&quot; in the dictionary. But &quot;涧&quot; in original poem just refers to an ordinary mountain stream, which is still far from a dale. Then is the translation of &quot;鸟鸣&quot;, defined in the dictionary as &quot;when birds twitter, they make a series of short high sounds&quot;; Translation 2 translates &quot;鸟鸣&quot; as &quot;singing&quot;. Translation 1 uses onomatopoeia to translate it, which is more vivid in sensory image; While translation 2 uses personification to highlight the melody of bird songs, which brings people a more graceful feeling and a more harmonious artistic conception. It can be said that translation 1 adopts literal translation while translation 2 adopts free translation. Although both of them can reflect the activity of bird, translation 2 compares it to singing, on the basis of being faithful to the original text, adds a more poetic aesthetic feeling from the aesthetic point of view, and the images described are more easily accepted by readers.<br /> Next comes the translation of the poem's first line. First of all, in terms of the treatment of &quot;人&quot;, both translation 1 and translation 2 add the subject &quot;I&quot; to translate &quot;人&quot; into the poet himself, because Chinese sentences do not necessarily have the subject while English must indicate the subject. Although it is difficult to achieve complete equivalence, it is also a relatively reasonable translation method. On the translation of &quot;闲&quot;, translation 1 cut to the chase, using the word &quot;idly&quot; indicates that the state of the viewer, it is in line with the original text in the idle state of mind; Translation 2, which puts &quot;unenjoyed&quot; at the end of the line, meets the need of rhyme but adds translator's creative content. But there is not unenjoyed feeling in the original poem, so translation 1 is better here. Next, on the translation of &quot;桂花&quot;, two translation appear difference. In translation 1, &quot;桂花&quot; is translated into &quot;cassia petals&quot;. The author looked it up in the dictionary and discovered that its meaning is the petal of cinnamon tree; in translation 2 it is translated into &quot;osmanthus blooms&quot; , which is almost synonymous to the translation 1. Both translation 1 and translation 2 take the same way to translate it, that is, using the proper noun. As for the &quot;桂花&quot; in this poem, scholars have different explanations. One explanation is that there are different kinds of &quot;桂花&quot;, such as spring flowers, autumn flowers and perpetual flowers. What is written here is a kind of spring flowers. Another view is that literary and artistic creation does not necessarily follow life. It is said that the painting by Wang Wei called Yuan An Lying in the Snow has green plantains in the snow. Things that cannot appear together in real life are allowed in literary and artistic creation. However, this poem is one of five poems that written for his friend's house. Each of these five poems is written in a realistic way, which is similar to the landscape painting. Therefore, it is reasonable to translate &quot;桂花&quot; to the osmanthus that blossoms in spring. However, in English, there is not so fine classification of osmanthus, so it is difficult to find a counterpart. The two translators have tried their best to translate it, and their translations of &quot;桂花&quot; are understandable. In addition, it should be noted that the way the two translators deal with the connection between the viewer and osmanthus. Translation 1 uses &quot;watch&quot; to see the flowers falling down, while in translation 2, the word &quot;hear&quot; is used, which is different from the usual setting of appreciating flowers and is the result of the translator's thoughtful and creative translation. Hearing the sound of falling petals can better reflect the empty of the poet's heart than seeing, thus better representing the tranquility of the mountain stream.<br /> Translation 1 Adopts the parallel structure when translating the second line, using the literal translation method to combine the silent night with the empty mountain stream. It is a static description without the description of the sequence of the events, reproducing a kind of vague beauty; in translation 2, &quot;夜静&quot; and &quot;山空&quot; are in time sequence, belongs to the dynamic description, showing the night's coming and the mountain becomes silent. The stationary state in the original poem becomes a process from a dynamic situation station to static one, successfully represent the hidden grammatical relations in the original poem. Therefore, for the transltion of the second line, both the two translators have strong point.<br /> In the translation of the third line, the translation of &quot;惊&quot; is of great importance for it serves as a key to show the skills of polishing words of Wang Wei. In translation 1, it is literally translated into &quot;startles&quot;, which means&quot;cause a person or animal to feel sudden shock or alarm&quot; in the dictionary. But are birds really startled? According to the appreciation of the original poem in the last chapter, the birds are not startled but only disturbed by the moonrise. &quot;Startles&quot; here is somewhat abrupt and the beauty of the original poem is not respresented, so it is not an appropriate translation; Xu Yuanchong translates it into &quot;arouses&quot;, which is defined as &quot;evoke or awaken a feeling, emotion, or response”in the dictionary. Compared to the translation 1, translation 2 is not only more natural but also gives the reader a sense of harmony between human and nature.<br /> The last is the translation of the fourth line. The two translations are basically the same in terms of words and translation methods, except the difference in sentence pattern. The translation 1 uses a non-restrictive attributive clause to combine the third line and the fourth line together, which means that the translator deal with the &quot;月出&quot; and &quot;鸟鸣&quot; as two simultaneous events, that is to say, there is no sequence between the moonrise and bird's singing, which is inconsistent with the original poem. The translation 2 deals these two lines with two sentences, perfectly embodying the relationship between the rise of the moon and the song of birds, which fits well with Wang Wei's state of &quot;painting in poetry, poetry in painting&quot;.<br /> <br /> ===5.Conclusion===<br /> <br /> By analyzing the above two translations, the author finds that Yang Xianyi attaches importance to form and Xu Yuanchong to meaning in poetry translation. Yang Xianyi prefers literal translation while Xu Yuanchong prefers free translation. In terms of formal system translation, Yang Xianyi's grasp of the beauty of rhyme is a little bit inferior to that of Xu Yuanchong, but in terms of the grasp of antithesis in poetry, both translators have demonstrated exquisite translation skills, each with its own advantages. Therefore, it can be seen that the mastery of source language and target language is very important in translation. In terms of the translation of non-formal system, namely artistic conception, both translators represent the image beauty of the original poem to a large extent, but Xu Yuanchong's translation is better because Yang Xianyi uses more literal translation, which is slightly rigid. Xu's translation is more cohesive and readable, giving people a dynamic and harmonious aesthetic feeling.<br /> Although there are differences between Chinese and Western cultures, a good translation can still represent the appearance, scenery and feelings of the original poem. From the perspective of translation aesthetics, the combination of literal translation and free translation is necessary in order to realize the aesthetic representation of poetry in translation. In terms of translation, both formal system and non-formal system should be taken into account to represent the beauty of poetry in sound, form and meaning. This also gives the corresponding aesthetic requirements for the translator, the translator must constantly improve their language skills and appreciation ability, in order to achieve continuous breakthroughs in aesthetic representation.<br /> <br /> ==='''Reference '''===<br /> <br /> [1]陈洁.王维山水诗的意境美[J].宁波教育学院学报, 2015(4):52.<br /> <br /> [2]方梦之.译 学 词 典[M].上 海:上海外语教育出版社, 2004: 296.<br /> <br /> [3]黄婧，李仕俊. 从翻译美学角度对比《鸟鸣涧》四种译文[J]. 外语, 2010(31): 130.<br /> <br /> [4]劳琴姚，罗正婷.翻译美学视角下审美效果的再现——以《醉翁亭记》两译本为例[J]. 安徽文学, 2017(9):49-51.<br /> <br /> [5]刘宓庆.翻译美学导论[M].北京：中国对外翻译出版公司, 2005. <br /> <br /> [6]陶迎年.从音、形、意三美对比《鸟鸣涧》五种英译本[J]. 语言应用研究, 2017(8):143-145.<br /> <br /> [7]王力.诗词格律[M].北京：中华书局, 2000:133. <br /> <br /> [8]吴桐，李淑华.从翻译美学角度看中国古诗翻译[J]. 2018(16): 151.<br /> <br /> [9]王洁.杨宪益文学翻译思想探析[J]. 西安文理学院学报,2020(23): 111.<br /> <br /> [10]谢文利.诗歌美学[M]. 北京: 中国青年出版社, 1989．<br /> <br /> [11]余恕诚等. 唐诗鉴赏辞典[M]. 上海：上海辞书出版社, 1983:183-185.<br /> <br /> [12]朱光潜.诗论[M].北京：生活读书新知三联书店出版, 1998.<br /> <br /> ==An Aesthetic Study on Ezra Pound's Four Poems of Departure in ''Cathay''- From the Perspective of Xu Yuanchong's &quot;Three Beauties&quot; Principle 石迪文 Shi Diwen==<br /> <br /> ==='''Abstract'''===<br /> <br /> At the dawn of the 21st century, Ezra Pound, intrigued by Chinese classical poetry, gave fresh impetus to the American New Poetry Movement. One of his works in this period, ''Cathay'', involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from Spring and Autumn period (770 B.C.-476 B.C.) to Tang Dynasty (618-907). It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The chapter focuses on his Four Poems of Departure, all originally written by Li Bai （李白）, including &quot;Separation on the River Kiang&quot;, &quot;Taking Leave of a Friend&quot;, &quot;Leave-taking near Shoku&quot; and &quot;The City of Choan&quot;. Its main contents involves interpretation and further exploration of the Chinese aesthetic values in Pound's version from the perspective of Xu Yuanchong's &quot;Three Beauties&quot;-Principle, i.e. beauty in sense, sound and form, by which it will prove that Pound's creative translation of Chinese classical poetry possesses some Chinese classical aesthetic concepts.<br /> <br /> ==='''Key Words'''===<br /> <br /> Ezra Pound, ''Cathay'', Chinese classical poems of departure, Three Beauty Principle, Chinese classical aesthetics<br /> <br /> ==='''摘要'''===<br /> <br /> 二十一世纪初，伊兹拉·庞德所领导的新诗运动从中国古典诗歌中寻找推动力，他在此期间所创译的《华夏集》从费诺罗萨笔记中选取了19首中国古典诗，横跨历史千年，从孔子编纂《诗经》的春秋时期(公元前770-公元前476年)到李白诗歌十二首的盛世唐朝(618年-907年)，这段时期中国古典诗达到艺术巅峰, 孔子所提出的诗教观兴盛,成为古代中国主流诗教观。这部作品既反维多利亚式夸大其词、矫揉造作的文风，推动了西方诗歌发展，又成为了中西文化交流史上的重要成果。本篇论文将聚焦于四首诗人挑选成章的离别诗，其均来自李白，分别是《黄鹤楼送孟浩然之广陵》、《送友人》、《送友人入蜀》以及《登金陵凤凰台》。论文主要内容是从许渊冲三美原则（意美、音美和形美）阐释和进一步发现庞德译作中保留的中国美学价值。通过这种方式，本文试图证明庞德对中国古诗的创造性翻译中仍具有一些中国古典美学观念。<br /> <br /> ==='''关键词'''===<br /> <br /> 伊兹拉 · 庞德，《华夏集》，中国古典离别诗，三美原则，中国古典美学<br /> <br /> ==='''Introduction'''===<br /> Ezra Pound (1885-1972), one of the most influential and controversial figures in American literature, has received floods of praises and condemnation since the first appearance of his ''Cathay'', a collection of nineteen poems, which introduces Confucian principles of poetry to American Imagist Movement. Cathay was published in 1915 when the Western countries suffered an alarming death toll in the First World War. Most of literary men were so drown in the darkness of terror and suspicion that they felt lost and trapped in despair while during this period Pound found his muse in Chinese classic poetry. It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The work involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from the Spring and Autumn period (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reaches its acme and Confucian philosophy of poetry education attains prosperity and dominates. <br /> <br /> The article puts Pound's version in comparison with Li Bai's original one and intends to explore the aesthetic values of translation by virtue of Confucian aesthetic philosophy and Qian Zhongshu's &quot;Hua jing&quot;. The former (Confucian aesthetic thoughts) mainly involves two aspects: one is the neutralization beauty of &quot;gentleness&quot; and &quot;sincerity“ (温柔敦厚）; the other is the imagery beauty of Chinese classical images. More precisely, Confucius advocates that the personal emotions expressed in poems should not be observed directly or thoroughly but be clouded, or to say, recorded emotional experiences of the real or imagined world should be presented in a roundabout and implicit way and brim with a beauty of moderation in content, i.e. “joyous but not indecent, mournful but not distressing, without resentment and slander” (乐而不淫, 哀而不伤, 怨而不谤). On the other hand, a variety of images are employed to help moderate poets' powerful emotions like homesickness, lovesickness and grief of parting, and all of them echo the neutralization beauty in poetic content. The latter (&quot;Hua Jing&quot;) proposed by Qian Zhongshu, who is one of Chinese great writers and translation theorists, is a well-known translation theory that contains Chinese classical qualities and inherits the traditional aesthetic thought. Firstly, &quot;Hua&quot; means the transmigration of souls in texts, by Qian which is considered as the top pursuit of literary translation. It requires that literary translators naturally and ingeniously convert texts of one language into words of another while at the same time the elusive charm of the original and its natures can be well preserved. In other words, language serves in a text just like man's flesh and blood and thus what translation can change only is the language but not the soul of the original. In this way, its immortal spirit can transmigrate to another language and reborn.<br /> <br /> The study concentrates on Four Poems of Departure in Cathay, including &quot;Separation on the River Kiang&quot; (《黄鹤楼送孟浩然之广陵》), &quot;Taking Leave of a Friend&quot; (《送友人》), &quot;Leave-taking near Shoku&quot; (《送友人入蜀》) and &quot;The City of Choan&quot; (《登金陵凤凰台》), all of which originally written by Li Bai, who was born in the most glorious age of Tang Dynasty. By virtue of Confucian philosophy and Qian's thoughts, the four poems can be well interpreted from the perspective of translation aesthetics, and by this way the essay helps enlarge the scope of translation study into Cathay and deepen the learning of Chinese classical aesthetics.<br /> <br /> ==='''Aesthetic Representation of &quot;Separation on the River Kiang&quot;'''===<br /> <br /> &quot;Separation on the River Kiang&quot; is the first poem in Four poems of Departure and tell a story of waving farewell to a friend along the River Kiang. The first two lines of the original poem is &quot;故人西辞黄鹤楼，烟花三月下扬州“, which Pound translates into &quot;KO-JIN goes west from Ko-kaku-ro,/ The smoke-flowers are blurred over the river.&quot; Literally, the translator mistranslates &quot;故人“，”黄鹤楼“ and exactly he simply transliterates the Japanese version of the two nouns (&quot;こじん&quot; and “こうかくろう”) into English one （KO-JIN and Ko-kaku-ro). Furthermore, Pound maybe not a good Japanese learner because &quot;こじん&quot;(KO-JIN) refers to a dead person but not &quot;故人&quot; (an old friend).<br /> <br /> ==='''Aesthetic Representation of &quot;Taking Leave of a Friend&quot;'''===<br /> ==='''Aesthetic Representation of &quot;Leave-taking near Shoku&quot;'''===<br /> ==='''Aesthetic Representation of &quot;The City of Choan&quot;'''===<br /> ==='''Conclusion'''===<br /> ==='''Bibliography'''===<br /> <br /> ==A Study on the Four Levels of Translation Based on Newmark’s Theory 张玲 Zhang Ling==<br /> <br /> ===18.3.1 Abstract===<br /> ===18.3.2 Key Words===<br /> ===18.3.3 摘要===<br /> ===18.3.4 关键词===<br /> <br /> ==A Study on Translatability and Untranslatability of English and Chinese Puns and Corresponding Strategies of Translation 曾心媛 Zeng Xinyuan==<br /> <br /> ===18.4.1 Abstract===<br /> <br /> ===18.4.2 Key Words===<br /> <br /> ===18.4.3 Contents===<br /> <br /> ===18.4.4 Bibliography===<br /> <br /> ==The Untranslatability of Chinese Classic Poems and its Translation Strategies 姚诚 Yao Cheng==<br /> ===Abstract===<br /> It is commonly believed poetry translation, of all kinds of translation, is the most difficult and demanding, yet possibly most worthy of our study. Though poems translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people remain divided over the translatability and untranslatability of poems and even the definition of untranslatability. This paper will discuss the translatability and untranslatability of poems from the perspectives of imagery, “yijing”, the use of allusion, sound and form. Then some corresponding strategies will be given so as to guide our poetry translation practice.<br /> ===Key words===<br /> poetry translation, untranslatability, translatability, translation strategies<br /> ===摘要===<br /> It is commonly believed poetry translation, of all kinds of translation, is the most difficult and demanding, yet possibly most worthy of our study. Though poems translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people remain divided over the translatability and untranslatability of poems and even the definition of untranslatability. This paper will discuss the translatability and untranslatability of poems from the perspectives of imagery, “yijing”, the use of allusion, sound and form. Then some corresponding strategies will be given so as to guide our poetry translation practice.<br /> ===关键词===<br /> 诗歌翻译，不可译性，可译性，翻译策略<br /> ===Introduction===<br /> Poetry is some sort of art that raises our sensuality of beauty through language. Through poetry, poets are able to express their pleasure, anger, sorrow and joy in a specific way which concentrates on sense, sound, rhyme, and now in a direct now in an oblique manner. In poems powerful emotions, remarkable imagination, bountiful rhetoric, and musical rhymes can be easily found. These elements altogether create the uniqueness of poetry. However, facing with the same Muse, an Englishmen, a Germany or a Greek may adapt a different way to present it since poetry owing to its artistic features, is deeply rooted in its native culture. Consequently, poems though may be appreciated by readers, they can be hardly reproduced by translators.<br /> Though poetry translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people’ opinion about the translatability and untranslatability of poems remain divided. Some translation theorists and translators seem to agree with translatability for the fact that there exist common grounds of culture in different nations. Such common grounds make it possible for people of different nation and culture to communicate with each other and such possibility constitutes the basis of the translatability of poems: these common grounds enables people of different culture and nation to appreciate the meaning and emotion of poems and echo with each other though they are written in different language. However, different nations also greatly differ from each other in historical reality which bring us to the very discussion of untranslatability. As poems are mainly appreciated from sense, sound and form, the untranslatability will be further argued in these three aspects. Then some corresponding strategies will be discussed to guide our actual translation practice.<br /> <br /> ===The untranslatability of poetry===<br /> ====The nature of untranslatability====<br /> Though there are numerous scholars in home and abroad believe that poetry is untranslatable for example Xu Guangqian, Wang Yizhu, Yu Guangzhong, Shelley, Robert Frost etc, people appear to hold different definition of untranslatability. Catford thinks that both language and cultural are untranslatable to some degree. Linguistic untranslatability exists in the inaccurate correspondence of different linguistic structure while cultural untranslatability is shown by the bare correspondence of meaning connoted in different culture. But Bassnett holds that the untranslatability nature should be discussed in the role that the context plays during the translation process. Few translations are totally untranslatable while many untranslatable sentences manifested by the lack of cultural correspondence can be compensated or replaced with translation methods. <br /> Some scholar simply maintained that the translatability of poetry means that possibility of poetry translation while equating untranslatability to the difficulties in translation. For example <br /> “人曾是僧，人弗能成佛。女卑为婢，女又可称奴。”<br /> The first part of the couplet was made by Su Xiaomei, sister of Su Dongpo with intention to ridicule Fo Yin and the second part was completed by Fo Yin as a response to Su Xiaomei. This antithetical and net couplet is famous for the meaning connoted in the form and anagram game. It was thought to be totally untranslatable until Xu Yuanchong gave his translation: <br /> “A Buddhist cannot bud into a Buddha<br /> A maiden maybe made a house maid”<br /> Xu Yuanchong’s translation is undoubtedly an excellent one no matter in its meaning or antithesis. Thus, they concluded that form the point of historical development, the translatability nature runs though poetry translation while the untranslatability nature is temporary and can be eliminated as long as the difficulties are solved.<br /> However, Xu Yuanchong himself appears to stand against this idea. In his opinion, a translated poem is the crystallization of the enormous efforts made both by the original poet and translator. when the original poet is compared to a father, the translator can be considered to be the mother and the translated poem a child. The child will never be utterly same to neither his father nor his mother. The same is also true of pome translation. The translated poem won’t be exactly the same as the original poem not will it be reproduced without the influence of the translator. Thus, Xu Yuanchong concluded there is no such question of translatability or untranslatability but the matter of the degree a poem can be translated to. Xu Yuanchong gave the following example:<br /> “流水落花春去也, 天上人间”<br /> Any translation of a poem should take various functions at different levels into consideration. Take meaning for example, what is concerned with the reality or thoughts about the world the poet wants to deliver is commonly regarded as the core of the reproduction. However. The author’s thought is usually connoted in the poem which leads to different interpretation or understanding of the poem. As understanding is the first step in any translation, there would be different kinds of translation of one poem according to the translator’s understanding. And there are at least four versions of translation of this verse:<br /> <br /> (1)“Flowing waters and faded flowers are gone forever<br /> As far apart as heaven is form earth” (Tr. Chu Dagao)<br /> <br /> (2)“The river flows –<br /> The blossoms fall –<br /> Spring going – gone<br /> in Heaven as on earth ”(Tr. Lin Tongji)<br /> <br /> (3)“One’s spring and youth has passed<br /> never to return<br /> One’s destiny is not of heaven’s<br /> Concern.” (Tr. Xu Zhongjie)<br /> <br /> (4)“Without flowers fallen on the waves<br /> Spring’s gone away<br /> So is the paradise of yesterday.” (Tr. X.Y.Z)<br /> <br /> Xu Yuanchong argues since there are at least 4 versions of translation, poetry is of course translatable. Also, similarities and differences can be easily found in the four translated work. Then similarities represent what the original poet wants to convey and the differences exhibit different expression methods adopted by the translator. Different expression methods also reveal the “translated degree” which means to which degree a poem is subjectively translated by the author within his ability. Then “translatable degree” should be discriminated form “translatable degree” which refers to the degree to which a poem can be objectively translated.<br /> When Xu Yuanchong’s translation of “人曾是僧，人弗能成佛。 女卑为婢，女又可称奴。” is reassessed with his definition of “translated degree” and “translatable degree”, it is clear that the difficulties that others equate untranslatability to fall into the category of “translated degree” since Xu Yuanchong solved the problem of meaning and anagram game but the form is not fully translated at least in this point: in the original verse, two short clauses “人曾是僧” and ”人弗能成佛” altogether constitute the whole meaning, but in the translation “A Buddhist cannot bud into a Buddha“ there is only one complete sentence. In this sense, this couple is only translatable to a certain degree. So our discussion of translatability will be confined to the field of “translatable degree”<br /> <br /> ====The untranslatability of imagery====<br /> Image is defined by J.A. Cuddon to be a general term that covers the use of language to represent objects, actions, feelings, thoughts, ideas, states of mind and any sensory or ex-sensory experience (1998:413). Qin Xiubai believes, “imagery is the soul of poetry”. This illustrates the critical status of imagery in literary translation, especially in poetry translation. Though Chinese and foreign poets attach great importance to the use of imagery, they, due to disparities in social and cultural background, differ from each other in tradition, ideology and mode of thinking. When comparison is made between Chinese and Western imagery theory, we can conclude the following features of Chinese imagery: <br /> At first, imageries in ancient Chinese place overwhelming importance on the meaning an imagery delivers rather than the imagery itself. Chinese tend to express their feelings in a very implicit way. The use of imageries consequently became prevalent among Chinese poet. As a result, imageries turn out to be the organic combination of the subjective feeling and an object. For example，“浮云游子意，落日故人情”（李白《送友人》） and “杨柳岸，晓风残月”（柳永《雨铃》）. Chinse imagerys boast unique connoted meaning. “浮云”(floating clouds)”落日” (setting sun)、”杨柳”(willow) 、”晓风”(breeze) 、”残月” (wane moon)are typical imageries that Chinese poets used to express the feeing of farewell. When these imageries are literally translated, it can barely intrigue the same feeling in target readers. Another example can also clearly explain this untranslatability of imageries of Chinese poetry. “鸿雁” or “飞鸿” is commonly employed by poets to express the lovesickness while “wild swan” or “wild geese” is but some sort of bird. When “鸿雁” or “飞鸿” is simply translated into “wild swan” or “wild geese”, English readers can’t appreciate the translated work as much Chinese reader appreciate the original poem due to the untranslatability of imagery.<br /> On the basis of its appealing to human sense, five types of imagery can be outlined as follows: visual imagery, aural or auditory imagery, tactile imagery, olfactory imagery and other sensory imagery. In addition, since any subject in the globe is either static or dynamic, imageries can also be divided into static and dynamic imagery. Then there come to the other prominent feature of imagery of Chinese poetry: Chinese much prefer static imageries to dynamic ones. Static imagery is comprised of adjectives and adjective phrase, nouns and nouns phrase as well. For instance, in the Chinese poem 《早发白帝城》 by Li Bai<br /> “朝辞白帝彩云间，千里江陵一日还。两岸猿声啼不住，轻舟已过万重山。” <br /> At dawn I left the walled city of White King, <br /> Towering among the many-colored clouds;<br /> And came down stream in a day One thousand li to Jiangling. <br /> The screams of monkeys on either bank <br /> Had scarcely ceased echoing in my ear <br /> When my skiff had left behind it <br /> Ten thousand ranges of hills<br /> “彩云”(colored clouds)、“轻舟”（skiff）、“万重山”（Ten thousand ranges of hills） can be categorized into static imagery. These three images are not only the objects the poet describes, but the very psychology equivalence reflecting the poet’s feeling. The poet express his great delight upon his absolved from exile through the image “彩云”while “轻舟”passing“万重山”shows the poet’ eager to return home. Reading the translated work, readers can hardly grasp the mood of the original poet. Despite the large quantity of static imagery, the use of dynamic is vivid and picture-evoking. Dynamic imagery refers to the dynamic description in chinse ancient poems such as imageries presented by the verbs of “还” and “过” use in Li Bai’s《早发白帝城》.There are other abundant examples of dynamic imagery: “绿” in “春风又绿江南岸”(王安石《泊船瓜洲》), “闹” in “红杏枝头春意闹”（宋祁《木兰花》）and “弄” in “云破月来花弄影”（张先《天仙子》）bring enormous vivacities to these verses. But such dynamic imageries can’t be hardly translated since exactly corresponded words can’t be found. Even so, the mood can barely be reproduced as “还” and “过” in examples above are translated into ”came down” and “left behind”.<br /> <br /> ====The untranslatability of “yijing”====<br /> The artistic kingdom has been sung high of throughout the history of Chinese poetry development, and assigned the name as “意境”(“yijing”). The phrase “意境” was translated into “artistic conception” or “ideorealm” by some. However, both of these two terms fail to fully express the core of “意境”（”yijing” ). ”yijing”, too mysterious and intangible as it is, is deemed to be the sprit of poetry. Though “yijing” originated from imagery, it is never a simple aggregate of images but an organic integration of imagery. Poets us concrete images to express their feeling and these two elements then become fully blended in “yijing” which altogether brings and far-retching philosophical effects. For example, in 《江雪》(柳宗元) <br /> 千山鸟飞绝，万径人踪灭。<br /> 孤舟蓑笠翁，独钓寒江雪。”<br /> River Snow<br /> A hundred mountains and no bird,<br /> A thousand paths without a footprint;<br /> A little boat, a bamboo cloak,<br /> An old man fishing in the cold river-snow. （Tr. Witter Bynner）<br /> <br /> At first glance, the poem seems to present a snow picture. However, through images including “大雪”、 “孤舟”、 “老渔翁”、 “寒江”、 “鸟飞绝” and “人踪灭”, a vivid picture of an old man fishing alone in the wild cold snow unfolds before our eyes and delivers us the image of the old fishman who exhibits loneliness and pride and forbears no sacrilege. In actuality, this old man by which the poet expresses his thought of getting rid of the secular and holding himself aloof from the world, is an incarnation of the poets’ sprit. Though any single image has no specific meaning, the organic integration of thess simple images attributes to the profound “yijing” which is exactly the charm of Chinese poems. However, in Bynner’s translation, nothing but a snow picture can be seen. The other typical example is 《天净沙》（马致远）<br /> “枯藤老树昏鸦，<br /> 小桥流水人家，<br /> 古道西风瘦马。<br /> 夕阳西下，<br /> 断肠人在天涯。”<br /> It seems that the poet randomly puts “枯藤”、“老树”、“昏鸦” and other 7 images together, but the last sentence“断肠人在天涯” fully revels the core concept of the poem and leave us roomy space for imagination. When Chinese sentence characterized by parataxis is translated into English features hypotaxis, the beauty of “yijing” of Chinese classical poetry vanishes to a large degree, if not completely.<br /> <br /> ====The untranslatability of allusion====<br /> As a gem of Chinese national culture, allusion is characterized by rich cultural connation, highly-concentrated structure and compact expression. In the course of more than five thousand years, numerous Chinese allusions are widely spread. Poets, to avoid direct expression of feeling, would naturally resort to such allusions like myth, legends, or historic event. Due to cultural difference, western reader can hardly understand what is connoted in the poem as much as Chinese reader can appreciate. If these allusions are translated completely translated by explanation, the whole translated poem will be lengthy and no longer be poem in form. On the contrary, if the allusion is simplified, connotations and space for imagination would no longer exist. For example:<br /> 古别离<br /> 孟郊<br /> 欲去牵郎衣，郎今何处去？<br /> 不恨归来迟，莫向临邛去！<br /> You wish to go, and let your robe I hold.<br /> Where are you going- tell me, dear – today.<br /> Your late returning does not anger me,<br /> But the another steal your heart away. (Tr. Fletcher)<br /> Undoubtedly, the basic meaning is reproduced when “莫向临邛去” was translated into “But the another steal your heart away.” However, the loss of image leads to the deviation of original information. Actually, “临邛” in the original poem is an allusion which tells the love story between Sima Xiangru, an prominent litterateur of West Han dynasty and an widow Zhuo Wenjun. The widow dared to break tradition hierarchy and ran way with the litterateur and married him at last. Obviously, here “临邛” is no longer a name for a place but a media the poet used to express the widow’s anxiety that her husband would fall in love with someone else in his journey. This anxiety is implicitly express in the original poem. However, the translated poem delivers this feeling in a blunt and frank manner, which doesn’t coincide with the characteristic of ancient Chinese women. Thus, the translation is by no means the perfect reproduction of the original poem. The translation of《琴瑟》（李商隐） can also illustrate this point:<br /> 锦瑟无端五十弦, 一弦一柱思年华。<br /> 庄生晓梦迷蝴蝶, 望帝春心托杜鹃。<br /> 沧海月明珠有泪, 蓝田日暖玉生烟。<br /> 此情可待成追忆, 只是当时已惘然。<br /> “Why should the sad zither have fifty strings? <br /> Each string, each strain evokes but vanished springs: <br /> Dim morning dream to be a butterfly; <br /> Amorous heart poured out in cuckoo’s cry.<br /> In moonlit pearls see tears in mermaid’s eyes;<br /> From sunburnt emerald let vaporize! <br /> Such feeling cannot be recalled again: <br /> It seemed lost even when it was felt then.” (Tr. Xu Yuanchong)<br /> Five allusion including “琴瑟”、 “庄周梦蝶”、“望帝春心”、“沧海月明”、“蓝天” in used in a poem of only 64 words to express the beaty of obscurity. Though Xu used interrogative and exclamatory sentence as well as such words like “amorous”、”cry” to reproduce this beauty. Butt westers, with little knowledge of Chinese culture will be confused by the relationship between of “string” and ”vanished things” or the connotation of “butterfly”、“cuckoo” and “pearls”.<br /> <br /> ====The untranslatability of sound====<br /> Poetic language has a natural connection with sound. The monosyllable nature and the four tones of Chinese character make it possible for Chinese poets to have a sometime deep, sometime high rhyme and rhythm which however are hardly limited in Chinese poem for the following three aspect: the harmonious balance between level and oblique tones, requirement for antithesis and rhyme which means the regular repetition of the same vowel. However, it is still much more difficult for English poets to enhance the musicality due to the uncertain syllable of words, stress shift between words, and limitation of rhyme. Consequently, the beauty of sound itself of Chinese classical poems can barely reproduced in English. For example,<br /> 海水朝朝朝朝朝朝朝落,<br /> 浮云长长长长长长长消。<br /> Sea waters tide, day to day tide, everyday tide and everyday ebb.<br /> Floating clouds appear, often appear, often appear and often go (Tr. Nida)<br /> Though the meaning of the original poem was fully translated, but the reiterative locution, reduplication words and antithesis which can impress the original reader at their first glance disappear.<br /> Here is the other example；<br /> “寻寻觅觅，冷冷清清，凄凄惨惨戚戚。《声声慢》（李清照）<br /> “Seek, seek, search, search,”<br /> Cold, cold, bare, bare,<br /> Grief, grief, cruel, cruel grief,<br /> Now warm, then like an autumn<br /> Cold again<br /> How hard to calm the heart. (Tr. Clara Candlin)<br /> There are seven couple of reduplication words bring the musicality that remind us the poet’s deep sorrow and grief though no single word regarding to sadness is used. The translated works is pale when compared to the original poem in terms of neither meter nor”yijing”. The word-for-word translation in attempt to maintain the repetition of sound reduces the sense of beauty to the most and can scarcely trigger the deep sorrow and grief in the target reader.<br /> <br /> ====The untranslatability of from====<br /> Since Aristotle, heated debates on the difference of poetry and prose have been hold. Yet, poetry should be discriminated from prose in the first place for its form. A translated poetry must be poetry in form for the following reason: at first, the charm of a poem somewhat lies in the beauty of form. Second, target readers should have accesses to the feature and charm of the original poetry, and it is the supreme duty of the translator to ensure that to happen. Third, the translator should be royal to the original poem. However, because of the opaqueness and connotation pervading in Chinse poems, translator in one way or other are prone to translate them into poetry and thus the beauty of form is lost.<br /> Even though the translator is determined to keep the original form, he can hardly do so. As mentioned earlier, because of implicit character of Chinese, they tend to express their intention or feeling in a direct way so much so that some special form in adopted in classic poetry such as the anagram mentioned earlier.<br /> 凡鸟偏从末世来，都知爱慕此生才。<br /> 一从二令三人木，哭向金陵事更哀。<br /> <br /> This bird appears when the world falls on evil times;<br /> None but admires her talents and her skill,<br /> First she complies, then commands, then is dismissed,<br /> Departing in tears to Jinling more wretched still. (Tr. Yang xianyi &amp; Gladys)<br /> <br /> This phoenix in a bad time came,<br /> All praised her great ability.<br /> “Two” makes my riddle with a man and a tree,<br /> Returning south in tears she met calamity. (Tr. David Hawkes)<br /> <br /> The original poem was use by Cao Xueqin to make hints of Wang Xifeng’s destiny. Here, “凡” and “鸟” altogether constitute the traditional Chinese character “鳳” which refers to the word “feng” of Lady Wang Xingfeng. Thus, the first couplet tells us though Wang is lady of high caliber but she came at a bad time. Neither “bird” nor “phoenix” can deliver us this hint. Also in the first part of the second couplet, “木” and “人” make the character “休” (“repudiation”) which implies Wang Xifeng would be dismissed by her husband at last. Though the first translation literally tells us her destiny, the anagram is gone. It is still worser of the second translation, target reader will be utterly confused when he come to “‘Two’ makes my riddle with a man and a tree,”<br /> <br /> ===Translation strategies of Chinese classical poetry===<br /> Much as a poem can’t not be fully translated in all aspects, some strategies can be adopted to make the translation as lose to the original poetry as possible:<br /> ====Addition of word====<br /> Chinese classical poetry features terse wording so much so that some words are omitted. Thus, considerable words should be added to make the translation more exact in sense. For example,<br /> “十年生死两茫茫”<br /> “Ten years now, I’m here, you’re gone. Though not thought, not forgot.” <br /> “For ten long years, the living of the dead knows nought.” (Tr. Xu Yuanchong)<br /> In the second translation, the preposition “for” is added to meet English expression and more importantly, it can strength readers’ feeling the span of time and echo the grief.<br /> Besides, connotation should added to prevent target reader from confusion resulted from culture difference. For example,<br /> “纤云弄巧，飞星传恨，银汉迢迢暗渡”<br /> “Clouds float like works of art，Stars shoot with grief at heart． <br /> Across the Milky Way the Cowherd meets the Maid ( In a fairy tale in ancient China，the Cowherd and the Maid were married，but theywere restricted by the Queen Mother to meet each other once a year) ”，<br /> An allusion is used for the implicit expression of lovesickness, it would be extremely difficult for target readers to appreciate the full sense of this poem.<br /> <br /> ====Deletion of word====<br /> Reduplicated and repetitive words are used to trigger strong emotion. Such word can be sometime deleted to avoid redundance in English. For example, in “飞流直下三千尺” and “千锤万凿出深山”， “三千尺” and “千锤万凿” are actually hyperbolized. If they are literally translated into “It flows down three thousand feet” and “Only through tens of thousands of blows，can it be extracted from the mountains”，not only the beauty of sense but space for imagination are totally lost. After fully understanding of the poem, the numbers can be omitted and thus hyperbole is transformed into typical English adjective used for description.: “an incredible height” and “a hard hammer blows”.<br /> <br /> ====Conversion of word class====<br /> English and Chinese differ from each other a lot in terms of linguist form and structure. In order to make the translation faithful, Conversion of word class is frequently used. For example，<br /> “明月几时有，把酒问青天” 《水调歌头·明月几时有》（苏轼）<br /> “How long will the full moon appear?<br /> Wine cup in hand, I ask the sky.” (Tr. Xu Yuanchong)<br /> “How rare the moon，so round and clear! <br /> With cup in hand, I ask of the blue sky,” (Tr. Lin Yuntang)<br /> If “把酒” and “问青天” are separably translated into “hold the wine glass” and “ask the sky”, there will be two predicate which is inconsistent with English expression. When we take a close look to Xu’s and Lin’s translation, it is clear that the verb phrase ”把酒” are translated into prepositional phrase. By doing this, the focus ‘问青天” is empathized so that the sense is closer to the original poem<br /> <br /> There are of course many other ways for poetry translation such as reconstruction of sentence and the use of annotation. No matter what strategies we adopted, it borders on impossibly for us to 100% translate a poem. But we should also bear it in mind that we can always find a way to make the translated work closer to the original poem with brainstorm and ingenuity.<br /> <br /> ===Conclusion===<br /> In spite of the very fact that poetry translation has been practiced since very long ago and theories of poetry translation have been much produced. Different opinion was still hold of translatability and untranslatability. This paper confined the definition of untranslatability first and then explained the untranslatability from image, “yijing” the use of allusion, sound and form. Some strategies are given not in the fancy of the full reproduction of the original poem but with wish to reproduce it to as much greater degree as possible.<br /> <br /> ===References===<br /> [1]辜正坤. 中西诗比较鉴赏与翻译理论 [M]北京:清华大学出版社,2003.<br /> <br /> [2]许渊冲.诗词英译漫谈[J].中国翻译,1988(03):40-43.<br /> <br /> [3]李新红.试论中国诗歌之“不可译”[J].兰州教育学院学报,2010,26(06):294-296.<br /> <br /> [4]隋荣谊.诗歌翻译[J].英语知识,2011(10):35-38.<br /> <br /> [5]饶卫民.论诗歌翻译的可译性与不可译性[J].安顺学院学报,2012,14(06):27-29.<br /> <br /> [6]杨群,刘益.中国古典诗歌翻译中的不可译性[J].南华大学学报(社会科学版),2005(06):93-95+106.<br /> <br /> [7]马庆军.中国古典诗歌的不可译因素[J].天津职业院校联合学报,2015,17(01):83-87.<br /> <br /> [8]王剑果.论诗歌翻译中形似的重要性[J].河南师范大学学报(哲学社会科学版),2012,39(05):149-150.<br /> <br /> [9]何峻.从译者的再创造看诗歌由不可译性向可译性转化[J].成都大学学报(社会科学版),2008(04):124-127.<br /> <br /> [10]孙华丽.中国古诗词翻译技巧研究[J].三峡大学学报(人文社会科学版),2020,42(04):113-116.<br /> <br /> [11]李海燕.Beauty in Sense, Sound and Form in Poetry Translation —— Translation of Tang Poems From Chinese to English[J].内蒙古教育学院学报,2000(04):155-158.<br /> <br /> [12]赵旦,陈养桃.戴着镣铐起舞——诗歌翻译为何难的几点分析[J].安徽文学(下半月),2015(12):5-6+34.<br /> <br /> ==A Study on Untranslatability and Compensations 朱旭 Zhu Xu==<br /> <br /> ===Abstract===<br /> <br /> ===Key words===<br /> <br /> ===摘要===<br /> <br /> ===关键词===<br /> <br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Study on translations of ''Vanity Fair'' from the perspective of poetics 许鹏飞 Xu Pengfei==<br /> <br /> &lt;center&gt;许鹏飞 Xu Pengfei&lt;/center&gt;<br /> <br /> ===Abstract:===<br /> <br /> This chapter aims to discuss function losses and poetic values in translations of ''Vanity Fair'' from the perspective of poetics. In literary translation, translators may not strictly follow forms and structures corresponding to original texts due to various reasons, which can help translators convey emotions and content of original texts but also do damage to some functions and poetic effects of originals unconsciously. This chapter chooses some excerpts from two versions translated by Yang Bi and Peng Changjiang respectively. Under the guidance of poetics theory, this part will discuss the advantages and disadvantages in their translations and compare them to the original text. And the author will analyze their function losses and poetic values in aspect of literariness in the excerpts from two versions of ''Vanity Fair''’s translation.<br /> <br /> ===摘要：===<br /> <br /> 本章节旨在从诗学角度探讨《名利场》不同译本中的功能损失和诗学价值。在文学翻译中，译者时常不会严格遵从原文的形式与结构，这有利于译者对原文情感内容的传达，但也在无形之中损害了原文的某些功能和诗学效果。本文节选了杨必和彭长江二人译本中的部分文段，在诗学理论指导下，通过分析二者翻译的优缺点，以及与原文进行比对，来探讨这两个译本选段翻译中存在的功能损失以及他们在文学性方面的诗学价值。<br /> <br /> ===Key words:===<br /> <br /> Literary translation;''Vanity Fair'';Poetics theory;Departure;Literariness<br /> <br /> ===关键词：===<br /> <br /> 文学翻译；名利场；诗学理论；偏离；文学性<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> When it comes to literary translation, it cannot escape from controversy and difficulty. It is considered that literary translation is quite hard because sense of beauty and emotions may be lost in the process of translation before they reach target receptors. And one or more translators seek to give a good translation of a same original, hence re-translation often occurs. ''Vanity Fair'' is a novel written by English writer William Makepeace Thackeray in 1847 which depicts English society in early nineteenth century. About a hundred years later, Yang Bi translated it into Chinese in 1957. Her translation is free from the shackles of the original language structure, showing charm and original style of ''Vanity Fair''. After Yang Bi’s translation, a lot of people re-translated this book. Among them, Peng Changjiang’s work is an impressive one. His translation, published in 1996, follows the original structure which is quite different from Yang Bi’s version in style, wording and many other aspects. Both of them give their unique translations to Chinese readers and their translations own their characteristics and merits. Nevertheless, it is inevitable that something in source text may be lost in target text. Besides, their different choices of translation strategies are worthy of discussion. To explore these, this chapter will discuss some discourses excerpted from the two versions compared with the original text under the guidance of poetics theory. And how literariness in original text can be retained in their translation will also be involved. According to comparisons and study, it will analyze their poetic values and function losses in translation in perspective of poetics.<br /> <br /> ===Chapter 2 An Overview of Relevant Theories===<br /> <br /> Before discussing the comparison between Yang Bi’s version and Peng Changjiang’s translation, this part will briefly introduce the theoretical basis of this chapter. In this section, the author will first give an introduction on relevant parts of poetics theory and then expounds the functions of language proposed by the Roman Jakobson, especially poetic function. And then this part will discuss internal connections between poetics theory and poetic function.<br /> <br /> ====2.1Poetics theory====<br /> <br /> Poetics originated in ancient Greece. Poetics in tradition is a study on poetry based on Aristotle’s Poetics, while Jakobson enlarges its fields. Roman Jakobson proposed that poetics can be applied in research on literature because its object of study is art of language(1987: 69). According to Jakobson(1987: 63), the main question that poetics studies is what transforms verbal message into arts. Poetics theory proposes that literariness in literature distinguishes it from other text types and gives it poetic effects. And it is literariness that makes literature a kind of verbal art. Correspondingly, literariness is the object of literature research(Jakobson, 1973: 62). As a result, a vitally important issue in literary translation that needs to figure out is how to retain literariness in original works. This is closely connected with functions of language, especially poetic function, which is dominant and crucial for literature. Besides, cognitive poetics theory considers that the more efforts a reader makes to understand a work, the stronger poetic effects it will produce(Pilkington, 2000:161 -169). The unfamiliar expression is a skill of creating art and grabbing readers’ attention in poetic perspective(Shklovsky, 1998: 16). And poetic language is a kind of self-focused message, different expressions can build different informational capacity of messages(Jakobson, 1987:67, 85). Therefore, choices of words and structure in literary works cannot be ignored and should be seriously concerned in literary translation.<br /> <br /> ====2.2Functions of language====<br /> <br /> At first, the Prague Circle proposed that there are three functions of languages, that are expressive, conative, and referential function. Then, linguists of the Prague Circle also proposed a fourth function—aesthetic function. This function indicates that language can serve art. In 1960, Jakobson raised another three functions: phatic, metalingual, and poetic function. Based on functions, he distinguished six elements in his model of functions that are necessary for communication to occur: context, addresser(sender), addressee(receiver), contact, common code and message(as cited in Feng Zongxin, 2006:19-34). Poetic function originated from literariness is the main function of literature and it focuses on the message(Jakobson, 1987: 69). How to use various linguistic devices to achieve the desired purpose is always the focus of scholars who study various kinds of linguistic communication(Roman Jakobson, 1981a: 19). In other words, different communicative purposes determine that linguistic devices should perform different tasks and fulfill different functions. As poetic function pays attention to message itself and its expressive device is a kind of self-focused message, carriers of information should be focused on(Jakobson, 1987: 85). Therefore, form of original works should be taken into consideration. Combined with poetics, form of original works can influence literariness, which cannot be ignored in translation.<br /> <br /> ====2.3Poetics theory and poetic function====<br /> <br /> In view of formalism, no matter what the art, it needs to be expressed through certain forms. The medium used in literature is language, and studying art of literature is actually studying language itself. Jakobson argues that poetics is an integral part of linguistics(1958: 63). Thus, the main research method of poetics is studying language through linguistics. As mentioned in 2.1, it is literariness that makes literature a kind of verbal art. And literariness is produced by certain permutation and combination of language. And Jakobson argues that, whereas most language is concerned with the transmission of ideas, the poetic function of language focuses on the ‘message’ for its own sake. Formalist scholars led by Jakobson believe that the intentional violation of conventions results in variation of forms, and thus forms defamiliarization(Wand Dongfeng, 2010: 8). The process by which readers gain understanding from reading and decoding these novel and inexplicable forms of language will produce poetic effects and aesthetic feelings(Shklovsky, 1998: 16). In a short, analyzing poetic function of language in literary works is a indispensable method to appreciate literature in perspective of poetics.<br /> <br /> ===Chapter 3 Comparative Analysis of Translations of ''Vanity Fair''===<br /> <br /> ====3.1Lexicon====<br /> <br /> ====3.2Sentence structure====<br /> <br /> ===Chapter 4 Conclusion===<br /> <br /> ===Chapter 5 References===<br /> <br /> ==A Study of the Chinese Prose Translation from the Perspective of Translation Aesthetics 赵晓燕 Zhao Xiaoyan==<br /> <br /> ==A Study on the translations of Cosmetic Trademarks from the Perspective of Translation Aesthetics 张琪 Zhang Qi==<br /> <br /> ='''Culture Loaded Words'''=<br /> <br /> <br /> ==Foreignizing Translation of Culture-loaded Words in Chinese Food Culture 全美欣 Quan Meixin==<br /> &lt;center&gt;全美欣 Quan Meixin<br /> 湖南师范大学 外国语学院，湖南 长沙&lt;/center&gt;<br /> <br /> === '''Abstract ''' ===<br /> <br /> Chinese food culture, as an important part of Chinese traditional culture, is rich in ethnic characteristics. Some words related to Chinese food culture are also abundant in cultural information. By adopting the foreignizing translation, Chinese language and cultural information can be preserved to the greatest extent. This paper will be divided into four parts. The first part will give a brief introduction of culture-loaded words and foreignizing translation. The second part will explore culture-loaded words in Chinese food culture from the strategy of foreignizing translation in three categories: words of historical allusions, words of local customs and words of food aesthetics. The third part will put forward that we should use comprehensive translation techniques to achieve foreignizing translation, which is beneficial to retain the characteristics of Chinese food culture, reflect the value of national culture, and promote Chinese food culture to go out. The fourth part will draw a concise conclusion about this paper.<br /> <br /> === '''Key Words''' ===<br /> food culture; culture-loaded words; foreignizing translation; cultural communication; translation skills<br /> <br /> === '''摘要''' ===<br /> 中国“食”文化是中国传统文化一个重要组成部分，极具民族特征，与“食”文化有关的词语也富含中华民族文化信息。采用异化翻译能最大限度保留中华民族的语言和文化信息。本文分为四部分：第一部分简单介绍文化负载词和异化翻译；第二部分对“食”文化负载词中历史典故词、民俗习惯词和饮食审美词三个类别的异化翻译策略进行探讨；第三部分提出运用综合的翻译技巧实现异化翻译，保留中国饮食文化的特色，体现民族文化的价值，推动中国“食”文化走出去；第四部分对本文进行一个简短的总结。<br /> <br /> === '''关键词''' ===<br /> “食”文化；文化负载词；异化翻译；文化传播；翻译技巧<br /> <br /> === '''1.Introduction''' ===<br /> <br /> ===='''1.1 Culture-loaded words '''====<br /> <br /> ===='''1.2 Foreignizing Translation'''====<br /> <br /> === '''2.Categories of Culture-loaded Words in Chinese Food Culture''' ===<br /> <br /> ===='''2.1 Words of Historical Allusions '''====<br /> <br /> ===='''2.2 Words of Local Customs '''====<br /> <br /> ===='''2.3 Words of Food Aesthetics '''====<br /> <br /> ==Translation of Cultural words Based on Interpretive Theory 何长琦 He Changqi==<br /> <br /> ==Study on the translation of culture-loaded words from the view of cultural self-confidence. 刘博 Liu Bo==<br /> <br /> ==='''Abstract'''===<br /> <br /> Today, China's growing international influence is inseparable from cultural development. Without a high degree of cultural self-confidence, no country or nation can flourish. Language is an important carrier of cultural inheritance, development and prosperity, so in the context of cultural self-confidence, the translation of culture- loaded words is of great significance to the spread of Chinese traditional culture.<br /> <br /> ==='''Key words'''===<br /> <br /> culture-loaded words, cultural self-confidence, translation strategy<br /> <br /> ==='''摘要'''===<br /> <br /> 如今中国的国际影响力日益提升，离不开文化的发展。没有高度的文化自信，便没有一个国家和民族的兴盛。而语言又是文化传承、发展、繁荣的重要载体,因此在文化自信的语境下，文化负载词的翻译对中国传统文化的传播具有重要的意义。<br /> <br /> ==='''关键词'''===<br /> <br /> 文化负载词，文化自信，翻译策略<br /> <br /> ==='''Introduction'''===<br /> <br /> China is a major cultural nation, and its long cultural history gives it reason to be confident in its own culture. As Xi Jinping said, &quot;In today's world, if any political party, country or nation can be confident, the Communist Party of China, the People's Republic of China and the Chinese nation have the best reason to be so. With the courage to 'live a life of 200 years with confidence, we will be able to face all difficulties and challenges without fear, and we will be able to open up new horizons and create new miracles with unswerving determination. However, in the course of China's development, we have also absorbed Western culture while neglecting the development of Chinese culture. This phenomenon is still going on today. As China's economic development has entered a new stage, and reform has also entered a critical period, social values have become complex and diverse. The mainstream and the non-mainstream co-exist, and the advanced and the backward are intertwined, presenting a pluralistic and changeable character. Therefore, China needs a force to unite the complex and diverse social consciousness, and the importance of traditional Chinese culture is once again highlighted. Therefore, the Communist Party of China (CPC) has proposed the concept of &quot;firm cultural confidence&quot;, which has been widely accepted by the Chinese people. Against this backdrop, English language learners should take on the task of communicating the cultural loaded words of Chinese culture to the world, so that the world can learn more about Chinese culture through language, and thus increase China's international influence.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu Jinxingqi==<br /> <br /> ==Translation of Culture-loaded Words in Mao Zedong's Poems from the Cognitive View of Translation—A Case Study of Xu Yuanchong's Version 曾芳缘 Zeng Fangyuan==<br /> <br /> &lt;center&gt;曾芳缘 Zeng Fangyuan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> Characterized by profound meaning, majestic style, and concise language, Mao Zedong's poems shows the essence of his life and revolutionary experience. Mao's unique artistic charm and philosophical wisdom make him deeply respected by the people around the world and translation of his poems are also widely concerned. His poems are written in the style of classical metrical verse, in which the culture-loaded words are the crystallization of Chinese culture. Because of the specificity and complexity of culture meaning, there exists much challenge in the translation of such words. Nowadays, translation theorists both at home and abroad have gradually swerved their focus from discourse analysis and cross-cultural communication to a deeper factor—cognition as a way to explain the phenomenon.<br /> <br /> In this sense, based on Nida's classification of culture-loaded words, this chapter selects Xu Yuanchong's translated version of Mao's poems as an example to discuss the translation of culture-loaded words from the perspective of cognitive view in translation. <br /> <br /> ==='''Key Words'''===<br /> <br /> Culture-loaded words; Mao Zedong's Poems; cognitive view of translation; Xu Yuanchong's translation.<br /> <br /> ==='''摘要'''===<br /> <br /> 毛泽东诗词意境深远，气势磅礴，语言自然简洁，是毛泽东人生和革命经历的精华，独特的艺术魅力和哲理智慧让其深受世界人民的推崇。他的诗词都用古典的中国格律诗体写就，其中的文化负载词是中华民族思想文化的结晶。但由于其文化意义独特复杂，给翻译带来了较大挑战。当下，国内外的翻译研究焦点由文本分析和跨文化交流的角度渐渐转向了一个更深层的要素——认知来解释文化负载词翻译的现象。<br /> <br /> 本篇基于奈达对文化负载词的分类，选取许渊冲所译的毛泽东诗词为实例，根据认知语言学翻译观，浅谈文化负载词的翻译。<br /> <br /> ==='''关键词'''===<br /> <br /> 文化负载词；毛泽东诗词；认知翻译观；许渊冲译文<br /> <br /> ===Conclusion===<br /> <br /> ===Works Cited===<br /> <br /> ==Translation Strategies of Words under the Guidance of Translation Methodology 肖婷 Xiao Ting==<br /> <br /> == Analysis of the Translation of Culture-loaded Words in ''Vanity Fair''常慧月 Chang Huiyue==<br /> <br /> ='''Skopos and Functional Equivalence'''=<br /> <br /> ==On the Relationship among Translation Theories, Strategies and Techniques ——From the Perspective of Skopos Theory==<br /> <br /> &lt;center&gt;谌孙福 Chen Sunfu&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> One fact known to be existent in the learning of translation is students' ignorance of the discrepancy between translation studies and translation practice. Bluntly speaking, central to translation studies are diverse translation theories. However, some strategies, methods and skills accordingly applied are at the core of translation practice during the process of translation. Given the fact that translation theories, strategies, methods and skills are always misunderstood as concepts in the same level, this paper aims to expound the relationship among them on the basis of Hans Vermeer's Skopos Theory as well as the exhaustive analysis of examples of pragmatic translation. With the citation of several examples of pragmatic translation, including those of tourism translation, literary translation and business translation, this paper elucidates the principal points vividly.<br /> <br /> ==='''Key words'''===<br /> translation theories; translation strategies; translation techniques; Skopos Theory; pragmatic translation<br /> <br /> ==='''摘要'''===<br /> 学生翻译学习过程中普遍存在的一个现象是混淆翻译学研究和翻译实践的区别。简言之，翻译学研究的核心是形形色色的翻译理论。相比之下，翻译实践关注的重点则是翻译过程中运用的翻译策略、方法和技巧。鉴于翻译理论、策略、方法和技巧常被误认为是同一层面的概念，基于汉斯•弗米尔的功能目的论和对实用文本译例的详尽分析，本论文旨在阐明翻译理论、策略、方法和技巧之间的关系。文中出现的实用文本译例清楚展现了论文要点，如旅游文本、文学类文本以及商务文本的翻译等。<br /> <br /> ==='''关键词'''===<br /> 翻译理论；翻译策略；翻译技巧；目的论；实用类文本翻译<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ===='''1.1Skopos Theory '''====<br /> Skopos Theory, one of the most profound contributions made by German Functionalist School, is basically put forward by Hans Vermeer as a new way to deal with translation, especially the relationship between ST (the source text) and TT (the target text). Here, the original German word &quot;Skopos&quot; refers to &quot;purpose&quot; in English, indicating that Skopos Theory can be also interpreted as &quot;the principle of purposes&quot;. According to Vermeer, there are mainly three rules to be abided by, namely skopos rule, coherence rule and fidelity rule, among which the skopos rule is of overriding importance. Now an exhaustive explanation will be given in the following text with regard to those rules.<br /> <br /> The first one to be illustrated is the overwhelmingly significant skopos rule. In the eyes of Hans Vermeer, &quot;each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follow: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.&quot; (Nord, 2001:29). Seeing from his remarks, what matters most in the process of translation is not so much the equivalence between ST and TT as the manifold purposes. These purposes encompass those of the translator and the text, the latter one of which is greatly highlighted. That is to say, the translator need not obstinately stick to the form and style of ST but rather give top priority to what the TT actually wants to convey and transfer to TT readers. Hence, the adoption of pertinent translation strategies and techniques is by no means haphazard but in accordance to the skopos rule. Moreover, Skopos Theory also provides translators an efficacious way to free themselves from the restraint of ST. Their obligation lies in tailoring TT rendered by them to the ultimate goals of the translation activity, such as informing TT readers about something new, persuading them or so.<br /> <br /> Then, here comes the second rule, coherence rule, also called the intra-lingual rule. It has been widely held that this rule lays much emphasis on the readability and acceptability of TT for TT readers. Imaging there are two translation version of a text, one of which is transparent and intelligible whereas another one of which is rigid and eccentric for people to understand, then which one will be the ideal version for TT readers? The answer is definitely the latter one. The case is that readers are more prone to read TT which conforms to their expressive habits and conventions. This is why the translation strategy, domestication has been frequently adopted when translating some exotic or foreign texts, with a view to catering to TT readers' knowledge.<br /> <br /> The last but not least one rule to be demonstrated is the fidelity rule, or the well-known inter-lingual rule. Here, the loyalty of TT to ST cannot be overstated any more. Bearing a resemblance to Yan Fu's &quot;faithfulness&quot; or Nida's Functional Equivalence Theory, TT must be rendered in conformity with ST. Quite different from Yan Fu's and Nida's standpoints, such a kind of fidelity, however, is determined or constrained by the purposes of TT and the translator's comprehension of ST to a great extent.<br /> <br /> To conclude, in spite of the respective roles played by the above-mentioned three rules in translation practice, the coherence rule and the fidelity rule are outshined by the skopos rule for purposes of TT and translators are the most crucial elements to be considered when we view translation practice from the unique perspective of Skopos Theory.<br /> <br /> ===='''1.2Translation theories,strategies and techniques '''====<br /> Translation theories are the fruitful outcomes yielded thanks to our predecessors'assiduous and relentless work in terms of translation studies. Broadly speaking, translation theories are some guidelines and benchmarks used to facilitate translation practice. They are quite abstract notions but informative and enlightening knowledge to be relied on. With the elapse of time, translation theories also take on historical characteristics, each one of which can be attributed to a certain school, such as the literary school, the linguistic school, the translation studies school and the deconstructionism school. In our modern translation studies, the linguistic school has been deeply rooted in students'minds, including Nida's Functional Equivalence Theory, Vermeer's Skopos Theory, Catford's Translation shift theory, New Mark's semantic translation and communicative translation. Given the limited space in this paper, other prominent translation theories will not be delineated here.<br /> <br /> The interpretation of the word &quot;strategy&quot; by Merriam-Webster's Advanced Learner's Dictionary reads as &quot;a careful plan or method for achieving a particular goal usually over a long period of time.&quot; Applying this word to translation studies, the definition of translation strategies can be defined as a series of principles and plans used to address difficult problems emerging in the process of translation practice. They are subordinate to and influenced by certain translation theories. In translation studies, some prominent dichotomies of translation strategies can be found if viewing from various angles, like the contrast between literal translation and free translation, the juxtaposition of domestication and foreignzation, as well as the comparison between semantic translation and communicative translation. One thing to be underscored here is how to make a rational decision when it comes to the selection of various translation strategies. The aforementioned sentences remind us of the fact that translation theories will exert more or less impacts on our preferences toward some translation strategies. In order to clarify this point, the translation theories of the linguistic school are taken as an example to corroborate the effect of theories on translation strategies. Nida's Functional Equivalence Theory and Vermeer's Skopos Theory are none other than two epoch-making monuments in the translation theories of the linguistic school. In spite of their belongings to the same school, their core concepts and values are distinct from each other to a large extent, thereby offering translators different channels to select translation strategies. Since Functional Equivalence Theory attaches great importance to the natural and exquisite equivalence between TT and ST, the translation strategies of free translation and domestication are often the optimal choice to evade clumsiness and opacity of TT when the literal translation or the word-for-word translation does not work out. Another thing to note is how Vermeer's Skopos Theory helps to elaborate translation theories' function on translation strategies. The purposes of TT and translators are integral factors to decide which translation strategies will be chosen. For example, the translation strategies of foreignization will be considered if the TT aims to promulgate exotic and overseas culture.<br /> <br /> An authoritative concept of the word &quot;technique&quot; given by Collins describes it as &quot;a particular method of doing an activity, usually a method that involves practical skills.&quot; Therefore, translation techniques are quite a few concrete methods and skills helping facilitate and polish the process of translation practice. A list of translation techniques includes amplification, omission, conversion, division, combination, negation and so on. For the reason that English and Chinese are different from each other in terms of lexicon, syntax and culture, the emergence of translation techniques is exceedingly necessary to transfer information from ST to TT by means of translation. Specifically speaking, English and Chinese are unique in their dictions in that English allows more freedom for the usage of nouns while Chinese is a verb-oriented language. This accounts for the plausibility of applying the translation technique of conversion. Besides, the discrepancy between English and Chinese also lies in their respective thinking modes and expressive conventions, thus making the technique of negation come into being.<br /> <br /> ===='''1.3The relationship among translation theories, strategies and techniques '''====<br /> Now that clear and vivid definitions of translation theories, strategies and techniques are provided in the preceding paragraphs, it is high time that the relationship among them should be manifested. Here, the relations among them will be unveiled from two respects. One is the mutually restraint relation among translation theories, strategies and techniques while another is the relationship between the macroscope and the microscope.<br /> <br /> On the one hand, the intricate relationships among those three entities can be said to mutually restrain and complement each other. Translation theories are the most inclusive and macroscopical because of their guiding effects on the application of translation strategies and techniques. They are the overriding important benchmarks around which many other translation strategies and techniques should revolve. It is imperative to note that diversified translation theories beget diversified strategies and techniques. Examples proving this point are innumerable. The theories of deconstructionism promote the use and spread of foreignization. Nida's Functional Equivalence Theory justified the necessity of adopting pertinent translation strategies and techniques to achieve the most natural equivalence between ST and TT, like domestication, literal translation and so on. Translation strategies and techniques are none other than the extension and embodiment of translation theories. For example, the translation strategy of domestication can be only realized with diversified translation techniques. While translating culture-loaded words, the translator can resort to translation techniques of transliteration, amplification to put the domestication into practice. To sum up, translation theories are guidelines for translation strategies and techniques, and those strategies and techniques are in turn the true reflection of theories. It is likely that translators are not aware of this fact for all those theories and strategies have been deeply etched into their mind. Imaging such a situation that a translator is totally fatuous about translation theories, how could he render high-quality translation? What he will do is to translate a text word for word from beginning to end, ultimately producing crude translation. Without exaggeration, it is the collaboration and complementation among translation theories, strategies and techniques that help translators perfectly fulfill their missions.<br /> <br /> On the other hand, another noteworthy relationship among translation theories, strategies and techniques can be regarded as the dichotomy between the macroscope and the microscope. Translation theories are the most high-leveled concept, just like a notion occurring in English linguistics, the superordinate. Thus, certain strategies and techniques are derivations and products of translation theories. Almost for every translator, their translation practice, including the selection of translation strategies and techniques, is always reliant on translation theories. Translation strategies, a concept lying between the two extremes of translation theories and translation techniques, are contained by theories but pave the way for using extraordinary translation techniques. Just like the above-mentioned contents, the most commonly found translation strategies of domestication and foreignization must be guided and restrained by translation theories, like Skopos Theory or Functional Equivalence Theory. But the selection of translation techniques is more or less limited by translation strategies. A good example of that is the application of transliteration to consolidate the effect of foreignization. Ultimately, translation techniques seem to be the most low-leveled concept lying beneath translation theories and strategies. But it is the existence of those techniques that offered translators and scholars a definite direction to conduct translation studies.<br /> <br /> ==='''II.Case Analysis'''===<br /> <br /> ===='''2.1The translation of tourism texts '''====<br /> Tourism texts are one of the most typical genres of pragmatic texts, which are characterized by meticulous depiction of the certain scenery, brilliant dictions and sentence patterns as well as attractive or compelling informative messages for potential tourists. They consist of several pervasive types in people's daily life, such as the introduction to scenic spots, commentaries of tourist guides, tourist pamphlets, tourist contracts, monographs and thesis concerning tourist investigations. Viewing from a much more professional and functional perspective, all those enumerated above can be included into three types: tourist reception, tourist administration and tourist investigations. Accordingly, the translation of tourism texts also revolves around those three kinds. Albeit the diverse classification of texts, central to people's commonplace life are doubtlessly some tourists brochures, also known as a branch of tourist promotional materials (TPMs). &quot;TPMs are described as the collection of media, such as brochures, leaflets, posters, flyers, postcards and websites, used to support the sales of tourism products.&quot; (M. Zain Sulaiman &amp; Rita Wilson, 2019, p.17) Since this paper manages to unfold the relationship among translation theories, strategies and techniques from the perspective of Skopos Theory, the case analysis of tourism translation in the following words is not an exception. Considering that tourism texts, particularly TPMs, are destined to captivate tourists and accomplish lucrative goals, sensible decisions must be made so as to cater to tourists' tastes. Therefore, sometimes considerable superfluous information should be deleted and sometimes other complementary information that is conducive to customers' comprehension should be added. This calls for consideration of Vermeer's Skopos Theory for its overemphasis on functions and purposes of TT. Furthermore, the translation theory just decided will influence and constrain the adoption of translation strategies and techniques. Usually, whether to use amplification or omission will be pondered over by the translator to achieve goals of TT. Apart from the restraint on translation strategies and techniques imposed by translation theories, the former is also an authentic and lengthy reflection and extension of the latter. To say more simply, translation strategies and techniques are selected according to translation theories but also conversely embody or represent notions and connotations of translation theories. Several representative examples are shown here to illustrate the relationship among those concepts pertaining to translation.<br /> <br /> Example 1<br /> <br /> ST:这里三千座奇峰拔地而起，形态各异，有的似玉柱神鞭，立地顶天；有的像铜墙铁壁，巍然屹立；有的如晃板累卵，摇摇欲坠；有的如盆景古董，玲珑剔透……神奇而真实，迷离又实在，令人叹为观止。——《武陵源风景》画册<br /> <br /> TT 1: 3000 crags rise in various shapes. They are like whips or pillars propping up the sky; or huge walls, solid and sound; or immense eggs piled on an unsteady border; or miniature rocky or curious… Fantastic but actual, dreamy but real! One cannot help marveling at the acme of perfection of Nature's creation.<br /> <br /> TT 2: 3000 crags rise in all shapes——pillars, columns, walls, shaky egg stacks and potted landscapes——conjuring up fantastic and unforgettable images.<br /> <br /> Analysis: The ST in example 1 is abridged from a tourism brochure informing tourists of the spectacular, imposing and captivating landscapes of Wulingyuan Scenic and Historic Interest Area. Adjectives and images abound in here to intensify the mystery and solemnity of this renowned scenic spot. There is no doubt that Chinese readers of the ST will take it for granted that the usage of all those idiomatic expressions added more melodious and semantic beauty to the ST. On the contrary, the TT, if rendered by translating the ST word for word, is bound to baffling a great majority of TT readers whose native languages are not as abstract as Chinese. Compared with TT 1's awkward literal translation, TT 2, instead of retaining all sentences of the ST, boldly obliterated adjectives and figures of speech, including &quot;立地顶天&quot;, &quot;摇摇欲坠&quot;, &quot;玲珑剔透&quot; and etc. Only some essential elements can be found there to indicate principal messages of that tourist attraction, which not only reduced TT readers' burden of comprehension but also achieved the goal of the TT. For the purpose of satisfying TT readers' requirements, the translation theory, here represented by Skopos Theory, played a leading role in selecting relevant translation strategies and techniques to eliminate the clumsiness and rigidity of version 1. The translation technique of omission is also an extension and reflection of Skopos theory. The relationships among translation theories, strategies and techniques are overt.<br /> <br /> Example 2<br /> <br /> ST:被誉为“童话世界”的九寨沟位于中国四川省阿坝藏族羌族自治州境内的九寨沟县中南部，是长江水系嘉陵江中上游白水河源头的一条支流，因景区内有荷叶、书正、则查洼等九个藏族村寨而得名。<br /> ——《九寨沟风景名胜区简介》<br /> <br /> TT: Jiuzhaigou, known as the &quot;Fabled World&quot;, is located in the mid-south of Jiuzhaigou County of Aba Tibetan and Qiang Autonomous Prefecture. A Jialing tributary of Yangtze River, Jiuzhaigou is named for the nine Tibetan settlements in the mountain valley.<br /> <br /> Analysis: Similar to Example 1, this ST is also a tourism text whose aim is to spread enough information of the resort to approaching tourists. Taking tourists' stances, a brief introduction of major scenic spots in Jiuzhaigou enjoys more popularity than its geographical location. Here, the translator, in dealing with TT, should distinguish the basic from the secondary, which is the reason why the names of villages like &quot;荷叶&quot;, &quot;书正&quot; and &quot;则查洼&quot; in the ST disappeared in the TT. Apart from the emphasis on the most important message, other factors also account for the deletion of the redundant words, such as the limited space of tourist brochures, the succinct and simple writing style of travel guides and so on. Actually speaking, it is all those functions and demands of tourism brochure that regard Skopos Theory as the ideal translation theory to be taken into consideration. Under the guidance of the Skopos Theory, the translation technique of omission makes it possible to underscore more key information about Jiuzhaigou rather than some background information serving no function in helping tourists. The complementary relations among translation theories, strategies and theories are also suggested.<br /> <br /> Example 3<br /> <br /> ST:刘备章武三年病死于白帝城永安宫，五月运回成都，八月葬于惠陵。——《成都武侯祠》折叠式导游图<br /> <br /> TT: Liu Bei died of illness at 233 at present day Fengjie County, Sichuan Province, and was buried here in the same year.<br /> <br /> Analysis: Despite the fact that this ST is also part of a tourist brochure, there are some nuances among it and the above two examples for this is a pamphlet about historic sites whereas the other two are concerned with natural sites. Given this difference, some words and phrases suggestive of cultural elements peculiar to China resulted in the selection of appropriate translation strategies. Here in example 3, &quot;章武三年&quot;, &quot;白帝城永安宫&quot; and &quot;惠陵&quot; are all closely associated with ancient Chinese culture. If translated literally as &quot;the third year of Zhangwu&quot;, &quot;Yongan Palace in Baidi City&quot; and &quot;Hui Mausoleum&quot;, these phrases will leave TT readers an obscuring impression because of foreign readers' loopholes in learning about Chinese culture. Under this circumstance, the translation strategy of domestication applied increased the lucidity, intelligibility and simplicity of the TT. &quot;章武三年&quot; is translated into &quot;233&quot; which is applicable and comprehensible to TT readers from all countries. &quot;白帝城永安宫&quot; is flexibly treated as &quot;Fengjie County, Sichuan Province&quot;, a present place known to reduce TT readers' strangeness towards it. After all, one cannot deny the fact that the adoption of domestication is due to the influence of Skopos Theory whose ultimate aim is to live up to the expectations of TT readers. This is also in line with the main point of this paper that translation theories are standards and guidelines of translation strategies and techniques, and translation strategies or techniques are authentic reflection of translation theories.<br /> <br /> ===='''2.2The translation of literary texts '''====<br /> Literary texts are materials having to do with literature. Genres like poems, novels and dramas can be all classified into this category. Unlike applied translation whose principal subject is characterized by austere, transparent and common dictions, literary texts, represented mainly by prose, are always hard to explore their implicit connotations, let alone translating them in an ideal way. This is because literary works are often a medley of rhetorical devices, beautiful words and phrases as well as some abstract sentences without too much logic. It is this exceedingly difficult trait that requires the translator to rationally inspect translation theories. In the case of translating literary texts, two translation theories will come to translators' minds, which are Skopos Theory and Functional Equivalence Theory. Making a detailed comparison between them, one will attach great importance to Skopos Theory rather than its counterpart. After all, Functional Equivalence Theory pays more attention to dynamic or functional equivalence between ST and TT, which is a little bit unrealistic to be materialized for the translator sometimes cannot find perfect substitutes to replace the opaque ST. Nevertheless, Skopos Theory can be a plausible translation theory to better balance ST and TT by means of omitting some unrelated information provided that the purposes of the TT can be ensured. This is also indicative of the point that translation theories play a significant part in restraining the adoption of translation strategies and techniques. Then translation strategies and techniques are in the same way a reflection or a microcosm of translation theories. For example, the appearance of omission during the process of translating literary texts must be the outcome of Skopos Theory since only that theory will take the bold action to omit lots of sentences in an article, which is impossible when the translator complies with the credence of Functional Equivalence Theory.<br /> <br /> Example 4<br /> <br /> ST: One of the parties, however, when critically examined, didn't seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gaily with yellow spots, and arranged with a flaunting glass tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedeckeded with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors, attached to it--, which in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray's Grammar, and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.——''Uncle Tom's Cabin'' <br /> <br /> TT:其一人狞丑，名曰海留，衣服华好，御金戒指一，镶以精钻，又配一金表。状似素封，而谈吐鄙秽，近于伧慌。（林纾译）<br /> <br /> Analysis: The TT is rendered by one of the most distinguished translators in Late Qing Dynasty, Lin Shu, whose major contribution is his translation of voluminous foreign novels, such as ''Ivanhoe'', ''Uncle Tom's Cabin'' and so on. Against the backdrop of the depraved and backward Qing Dynasty, What Lin Shu emergently wanted to do is to learn from foreign literature and culture, thus arousing people's awareness of national rejuvenation. For this reason, Lin Shu's translation seems to be infidel to the ST for his deletion of a plethora of dictions but can be rational if viewed from the perspective of Skopos Theory. With the consciousness that Linshu's translation aims to transferring the most outstanding information conveyed in the ST, one will not consider it eccentric to translate in that way although the translator omitted so many elements in that short paragraph, including the typical portray of the environment, the descriptive sentences about the outfit and accessories of the protagonist together with some other summary expressions. In a word, the aim of the TT justified Skopos Theory and then, decided the translation technique of omission to take the essence and discard the dross of the ST. And the translation technique of omission is in turn an embodiment and representation of Skopos Theory.<br /> <br /> Example 5<br /> <br /> ST: 宝玉忽想起来辞黛玉，因又忙至黛玉房中来作辞。彼时黛玉才在窗下对镜理妆，听宝玉说上学去，因笑道：“好，这一去，可定是要‘蟾宫折桂’去了。我不能送你了。”——《红楼梦》<br /> <br /> TT1: Pao-yu, remembering that he had not say good-bye to Tai-yu, hurried to her room. She was sitting before her mirror by the window and smiled when he told her that he was off to school. &quot;Good,&quot; she said, &quot;So you are going to 'pluck fragrant osmanthus in the palace of the moon.' I am sorry I can't see you off.&quot; (Yang Xianyi)<br /> <br /> TT2: Bao-yu suddenly remembered that he had not yet seen Dai-yu and hurried to her room to say good-bye. He found her by the window making herself up at the mirror. Her answer to his announcement that he was off to begin school was smiling but perfunctory: 'Good. I wish you every success. I'm sorry I can't see you off.'(Hawkes)<br /> <br /> Analysis: The ST is a small part excerpted from ''A Dream of Red Mansions'' written by an extremely eminent novel writer named after Cao Xueqin in Qing Dynasty. This abridgement delineated the scene that Jia Baoyu went to say goodbye to Lin Daiyu for he was to off to school. Accordingly, there are two deceivingly similar but actually different versions of the TT rendered respectively by Yang Xianxi, a renowned Chinese translator and David Hawkes, a world-famous sinologist specializing in translating Chinese classics. At the core of this case analysis must be the translators' rendition of the specific Chinese phrase &quot;蟾宫折桂&quot;. Yang translated it literally and directly as &quot;pluck fragrant osmanthus in the palace of the moon&quot;, maintaining the exclusive Chinese images &quot;osmanthus&quot;. In contrast, Hawkes transformed the ST into &quot;I wish you every success&quot;, exquisitely circumventing words which may be difficult to understand for foreign TT readers. Frankly speaking, the superiority and inferiority of the two versions cannot be arbitrarily dealt with. Now that Skopos Theory states that &quot;aim justifies end&quot;, the TT can be produced to tailor the purpose and need of TT readers. In the first version, the translation strategy of foreignization retained the exotic Chinese plant name and increased strangeness of TT readers. This strategy is an advisable one to disseminate some certain cultures to foreigners. Nonetheless, Hawkes's translation is easier to be accepted by foreign TT receptors for he applied the translation strategy of domestication to make the translator get accustomed to TT readers' reading habits and multiple cultures. Now the phenomenon that translation theories serve as a guide for translation strategies and techniques is corroborated once again. Similarly, translation strategies and techniques are the best representation of translation theories, just like domestication and foreignization are the representation and extension of Skopos Theory in this example.<br /> <br /> Example 6<br /> <br /> ST: 她像是受了炮烙似的缩手，脸色同时变作灰黑，也不再去取烛台，只是失身的站着。——《边城》<br /> <br /> TT: She withdrew her hand as if scorched, her face turned ashen-grey, and instead of fetching the candlesticks she just stood there dazed.<br /> <br /> Analysis: The ST is abstracted from ''Remote City'' written by Shen Congwen. This long novel takes country life in West Hunan as the writing material to display the seemingly mediocre but specifically meaningful human nature. It is known to all that the novel ''Remote City'' is brimmed with cultural-loaded words in order to deeply extract hidden mysterious things of the human nature. Of course, this source text is not an exception. In example 6, the Chinese word &quot;炮烙&quot; is a ruthless penal created by King Zhou of Shang Dynasty to fasten people on a large pillar heated by strong fire so that people will be scalded gradually until to their death. But if the translator translates this word literally, foreign TT readers will at a loss especially when they are not familiar with the history of Shang Dynasty. Consequently, the translator here just converted &quot;炮烙&quot; into “scorched” by adopting the translation strategy of domestication, assuaging TT readers' fatuity and strangeness towards the ST. This translation strategy is also impacted by Skopos Theory but in turn validates and broadens the usage of the translation theory. Seeing from this, the entangled relationships among translation theories, strategies and techniques cannot be overemphasized.<br /> <br /> ===='''2.3The translation of business texts '''====<br /> Business English, an increasingly inevitable term for people to encounter in today's world, has permeated into almost every corner of people's daily life. As for its definition, scholars of different eras vied with each other to illustrate it. For example, Wang Xingsun defined business English as &quot;English used in the business context&quot;. &quot;It is also English for Special Purposes (ESP).&quot; (王兴孙,1997:24) Nowadays, researches about business English have been formalizing and standardizing the definition and application of business English. A relatively precise and comprehensive concept of business English reads as &quot;Business English refers to a certain type of English emerging along with the advancement of economic globalization. It is used in various fields, ranging from economic to public and societal affairs.&quot; (陈准民,王立非,2009) Then business texts must be carriers of business English, with their type encompassing business logos, business advertisements, business contracts, business letters and the brief introduction of corporations. A subtle but unavoidable thing to note is that business English is by no means the simple combination of &quot;business&quot; and &quot;English&quot;. Instead, it brought out a multitude of new features to showcase its complexities, including its utility in professional domains and its highly functional usages. So the most tenable translation theory is more apt to be Skopos Theory in consideration of the functional characteristics of business texts. Subsequently, the restraining and guiding translation theory will work out to match proper translation strategies and techniques to the translation practice to meet the requirements of both TT readers and the TT itself. What is more, the reflective translation strategies and techniques appearing during the process of translation help people better understand Skopos Theory. On account of that, there is no denying that the interplay among translation theories, strategies and techniques is further proved.<br /> <br /> Example 7<br /> <br /> ST: Fresh food and fresh air. The perfect recipe for a healthy life. I've chosen. It's Candy.——Candy冰箱广告词<br /> <br /> TT1:新鲜食物和新鲜空气。健康生活的最佳处方。我已经做出选择，它就是Candy冰箱。<br /> <br /> TT2:新鲜食物+新鲜空气。健康生活的绝妙处方。我选定了Candy冰箱。<br /> <br /> Analysis: This is a task of translating an English business advertisement into Chinese. Notwithstanding this short sentence, a satisfying and applicable translation is hard to be rendered for so many limitations imposed by business advertisements. Business advertisements, known for their adherence to the &quot;economic principle&quot; of expressing the most detailed information with the least words and sentences, are doomed to pose several challenges for translators. To translate those advertisements near perfectly, translators must recourse to Skopos Theory to transfer the information conveyed by the ST to the TT readers in a succinct way. Here come to those two translation versions. TT 1 is doubtlessly the outcome of literal translation, which not only increased the cost of issuing that advertisement for many words of it but also left TT readers an impression of redundancy. Compared with TT1, TT 2 dexterously omitted &quot;我已经做出选择&quot; and superseded the Chinese word &quot;和&quot; with the punctuation of &quot;+&quot;, taking on the creativity and agility of the translator. At this time, the relationship among translation theories, strategies and techniques can be reaffirmed. The former offered a reasonable direction to the latter two concepts, and the latter two also reinforced the existing functions of the former.<br /> <br /> Example 8<br /> <br /> ST: Next is Now. ——三星S6系列手机广告词<br /> <br /> TT1:未来即现在。<br /> <br /> TT2:让未来，现在就来！<br /> <br /> Analysis: The ST in example 8 is also a business advertisement attentive to the selling of Samsung cellphones. This one justly accorded with all the remarkable traits of business advertisements, namely the conciseness, lucidity and catchiness. Generally speaking, both the two versions of translation are acceptable. But to delve into more details, version 2 is overwhelming greater than version 1 because of the fact that it can better cater to the future developing trend of Samsung cellphones. Through this advertisement, the advertisers actually want to do is to give top priority to the future. The translation version of &quot;未来即现在&quot; will easily lead people to be engrossed in the present while the version of &quot;让未来现在就来&quot; paid more attention to the future of Samsung cellphones. Also, TT 2 sketched a scene of early approaching of the future, suggesting the fact that the cellphones invented now can anticipate some of high-ended functions of future electronic products. Without doubt, Skopos Theory is the main driver of this translation practice. The translation technique of adaptation can be found here by changing the sentence pattern of the TT, thus achieving some unimaginable effects. Here, it is Skopos Theory that decided and guided the selection of the translation technique of adaptation. Also, that technique will exert counter-effects on Skopos Theory to expose the functions and purposes of the TT.<br /> <br /> Example 9<br /> <br /> ST:三元产品设计工作室虽然身处竞争激烈、你死我活的商业环境之中，但是我们对完美、创新设计的追求却一如既往、不折不扣。我们的作品风格总是别具一格、独一无二。——《三元产品设计工作室简介》<br /> <br /> TT: 3 Elements Product Design Studio works in a highly competitive market. Our pursuit of perfection and innovation is as ever. Our design is always unique.<br /> <br /> Analysis: The ST in example 9 is excerpted from the introduction of a corporate named after 3 Elements Product Design Studio. The key point in the TT is the translation of Chinese four-character phrases into single English words. On the one hand, such an action is in line with J.C. Catford's translation shift theory, especially the unit shift theory. On the other hand, it is also Hans Vermeer's Skopos Theory that underlies that transformation. Idiomatic expressions, like proverbs, four-character expressions, are known to abound in Chinese, which bewildered countless western Chinese learners. What translators are obligated to do is to change the complex into the simple. Then several four-character expressions in the ST, including &quot;一如既往&quot;, &quot;不折不扣&quot;, &quot;别具一格&quot; and &quot;独一无二&quot; have been translated into &quot; as ever&quot; and &quot;unique&quot;. More specifically, the translation techniques of adaptation and division are also adopted here just like that in example 8. As for the translation technique of adaptation, the phrase structures of the TT have turned into word structures. About the translation technique of division, the 2 sentences in the ST have been divided into 3 sentences in the TT with a view to underlining topic of each sentence. This opened up a new world for TT readers that the same translation technique can be guided and constrained by different translation theories. Hence, translators have to be sensitive and acute enough to perceive differences among translation theories, strategies and techniques so that the translation practice can yield fruitful outcomes. To conclude, translation theories still guide translation strategies and techniques. Those strategies and techniques still complement translation theories.<br /> <br /> ==='''III.Summary and conclusion'''===<br /> This paper is persistently talking about the relationships among translation theories, strategies and techniques, aiming to solve more puzzles haunting translators when they are engaged in relentless translation practice. With so many spaces left to the elaboration of such a complicated issue, this paper thus arrived at the conclusion that the relationships among translation theories, strategies and techniques lie in two respects. One is the relationship between the macroscope and the microscope, translation theories being the most inclusive and translation techniques being the most subordinate, with the translation strategies lying between those two extremes. Another is the relationship of guiding and complementing. To be honest, translation theories bear a resemblance to the lighthouses, which are always offering clues for the selection and adoption of translation strategies and techniques. Of course, translation strategies and techniques are also indispensable to translation theories for they can put translation theories into practice. Lacking those strategies and techniques, the connotation, significance and function are just the illusion.<br /> <br /> This paper starts with the introduction of Vermeer's Skopos Theory, the definition of translation theories, strategies and techniques, and the interpretation of the relationships among those three concepts. After all those preparatory steps, the case analysis part analyzed the relationships among translation theories, strategies and techniques from the perspective of three different kinds of texts, embracing tourism texts, literary texts and business texts. Almost all the translation of those texts are on the basis of Skopos Theory, with many other translation strategies and techniques applied, such as domestication, foreignization, omission, adaptation and so on. Finally, here comes the concluding and summary part of this paper, in which the rough structure and the motif of this paper have been clarified again.<br /> <br /> ==='''IV.References'''===<br /> [1]杨先一.林纾及其翻译——以《黑奴吁天录》为例[D]青岛:山东大学,2009.<br /> <br /> [2]Cao Xueqin. ''The Story of the Stone'' [M].London: Penguin,2004.<br /> <br /> [3]董晓波,翻译概论[M].北京:对外经贸大学出版社,2012.<br /> <br /> [4]郭晓燕,商务英语翻译[M].北京:对外经贸大学出版社,2017.<br /> <br /> [5]杰里米•芒迪，翻译学导论——理论与实践[M].北京:商务印书馆,2007.<br /> <br /> [6]Wilson Rita &amp; Sulaiman, M, Z. ''Translation and Tourism: Strategies for Effective Cross-cultural Promotion'' [M].Singapore: Springer,2019.<br /> <br /> [7]Tsao Hsuen-Chin &amp; Kao Hgo. ''A Dream of Red Mansions'' [M].Beijing: Foreign Languages Press, 1994.<br /> <br /> [8]熊兵. 翻译研究中的概念混淆——以“翻译方法”、“翻译策略”和“翻译技巧”为例[J].中国翻译,2014(3):82-88.<br /> <br /> [9]董川, 陈玲.武术翻译的策略、方法和技巧研究[J].体育世界（学术版）,2020(1):55-56.<br /> <br /> [10]焦炭,张辉.旅游景点解说词翻译方法与策略——以亳州市旅游景点解说词英译为例[J].中国民航飞行学院学报,2019(3):42-46.<br /> <br /> [11]韩婷婷.目的论视角下的茶文化文本的翻译策略探究[J].福建茶叶,2020(9):298-299.<br /> <br /> [12]宋玉露.目的论视域下葛浩文《丰乳肥臀》译本研究[J].青年文学家,2020(32):31-32.<br /> <br /> [13]莫红利.目的论视角下企业简介的英译原则与策略[J].考试周刊,2014(6):79-81.<br /> <br /> [14]王兴孙.对国际商务英语学科发展的探讨[J].国际商务研究:1997(1):24-28.<br /> <br /> [15]陈准民,王立非.解读《高等学校商务英语本科专业教学要求》（试行）[J].2009(4):4-11.<br /> <br /> ==Contemporary Study on Nida's Functional Equivalence and Skopos Theory 聂晓楼 Nie Xiaolou==<br /> <br /> ==On the concept of equivalence in translation 彭娟 Peng Juan==<br /> <br /> ==The Application of Functional Equivalence to Translation of Rhetorical Devices in The Nightingale and the Rose 彭小玲 Peng Xiaoling==<br /> <br /> ==Exploration of Translation Studies and Comparison Between Skopos Theory and Nida’s Functional Theory 彭育志 Peng Yuzhi==<br /> <br /> ==On the Translation of English Film Title from the Perspective of Skopos Theory 杨悦 Yang Yue==<br /> <br /> ==On the Translation of Resume from the Perspective of Skopos Theory 肖双玲 Xiao Shuangling==<br /> <br /> ===Abstract===<br /> <br /> With the rapid development of China’s economy and the deepening of reform and opening up, more and more foreign-funded enterprises are coming to China to invest and set up factories, and more and more Chinese are going to work in foreign companies or abroad. For foreign job seekers, English resumes are often more important than Chinese ones. Many job seekers think that the English resume is verbatim translation into English, however, the result not only fails to reflect their own English level, but also brings obstacles to the job search, leading to the opposite effect. By analyzing the differences between Chinese and English resumes, this paper attempts to solve the problems in the translation of Chinese resumes based on Skopos theory, so as to improve the quality of the translation and make the job-seeking process more successful. Skopos theory is the basic principle of translation activities. Based on the differences of the object, role and emphasis between Chinese and English resumes, analysis of the differences and the problems that arise in the translation process are necessary. This essay tries to find out effective methods for C-E translation of resumes under Skopos theory approach and thus makes job-hunting easier for applicants.<br /> <br /> ===Key words:===<br /> <br /> Skopos theory; resume; translation<br /> <br /> ===摘要:===<br /> <br /> 中国经济的快速发展和改革开放的深入，越来越多的外资企业来中国投资建厂，越来越多的中国人去外企或国外工作。对于外国求职者来说，英文简历往往比中文简历更重要。很多求职者认为英文简历就是自己的中文简历逐字翻译成英文，然而，这样的结果不仅不能反映自己的英语水平，还给求职带来了障碍，导致了相反的效果。本文通过分析中英文简历的差异,试图从目的论的角度来解决中文简历翻译中存在的问题，从而提高翻译质量，使求职过程更加顺利。目的论是翻译活动的基本原则。基于中英文简历的对象，作用和重点的差异，分析翻译过程中出现的差异和问题是必要的。本文试图找到在目的论理论方法下简历英译的有效方法，从而使求职者更容易找工作。<br /> <br /> ===关键词:===<br /> <br /> 目的论；简历；翻译<br /> <br /> ===Introduction===<br /> <br /> For job seekers, when applying for foreign-funded enterprises, a standardized English resume is essential, which not only reflects the applicant's personal information, ability and qualifications, but also reflects the applicant’s English level and awareness of cross-cultural communication to a certain extent. This paper focuses on the English translation of Chinese resumes and the characteristics and norms of English resumes, and puts forward solutions to the above problems. This paper suggests that the translation of resumes should be oriented towards the communicative purpose. By studying the characteristics and functions of resumes, the author discusses the C-E translation of resumes from three aspects: words, sentences and texts. The study has found that simplicity and clarity are the two criteria for resume translation. In addition, when translating resumes, translators should give priority to free translation with literal translation as a supplement. This paper can be divided into three parts. Chapter one is an overview to resumes, including linguistic features and qualities of translators. Then in the second chapter, the development and basic principles of Skopostheory will be discussed. In the last chapter, the application of Skopostheory on the translation of resumes will be explored at lexical, syntactic and stylistic levels.<br /> <br /> ===Chapter 1 Introduction of Resume===<br /> <br /> A resume is a written communication document that shows a prospective employer that you have the skills, attitude, qualifications, and confidence to meet specific job requirements. In order to attract employer’s attention and interest, a qualified resume is definitely indispensable. In this part, definition and features of resume and differences between Chinese and English resume are going to be explored.<br /> <br /> ===1.1 Definition of Resume===<br /> <br /> According to the explanation from the noted and authoritative encyclopedia—Wikipedia, a résumé or resume is a document used by a person to present their backgrounds and skills. Resume can be used for a variety of reasons, but most often it is used to secure new employment.<br /> A typical resume contains a “summary” of relevant job experience and education. The resume is usually one of the first items, along with a cover letter and sometimes an application for employment, which is typically used to screen applicants, often followed by an interview.<br /> <br /> ===1.2 Features of Resume===<br /> <br /> Resume needs to be optimized but the connotation is more important. Before the resume is submitted, it must have a clear career direction. This is the key to the success of the application. However, many people do not know their job search direction before writing a short calendar. Most people are confused about their job search direction, so it is not advisable to write a job search intention or write too much on the resume. Just as you can see a wide variety of advertisements every day, hiring managers also face a variety of resumes every day. How can a resume stand out? How do you let the recruiter notice you at a glance? How do you let the recruiter believe that you are the “talent” they are looking for and generate ideas for further interviews? In fact, as long as you follow the features when you create your resume, you will get an interview.<br /> <br /> ===1.2.1 Conciseness===<br /> <br /> When you’ve done with your resume, weigh it and see whether you can read all the things that you think are important in ten seconds or not. Generally speaking, the length of a resume should be limited to 1 page of A4 paper. The longer a resume is, the less likely it is to be read carefully. High-end talents can sometimes prepare resumes of more than 2 pages, but they also need to have a brief and clear overview of the qualifications at the beginning of the resume, so that readers can grasp the basic situation in a short period of time and have the desire to read further.<br /> <br /> ===1.2.2 Clarity===<br /> <br /> The purpose of clarity is to make it easy to read. Just like making a print ad, the layout of the resume needs to take into account factors such as font size, line and segment spacing, and highlighting of key content.<br /> <br /> ===1.2.4 Pertinence===<br /> <br /> If you submit the same resume for different industries, different companies and different positions, then what is deficient in such a resume is pertinence.<br /> If Company A requires you to have relevant industry experience and good sales performance, you clearly stated the relevant experiences and facts in your resume and put them in a prominent position. This is targeted; if Company B requires you to have good oral English ability, you described your experience in amateur foreign-related business translation in your resume, which is targeted; if Company C explicitly requires candidates to have Shanghai hukou, you indicate in your resume that you are a resident of Shanghai Pudong District, this is targeted. It is not only a resume, but also a very important principle when writing job letters, follow-up letters, and thank-you letters.<br /> <br /> ===1.2.5 Objectivity===<br /> <br /> I am a person who is rigorous and responsible, and I have a very good job performance in my past work. Similar sentences can often be seen in many people's resumes. Perhaps it is true, but the wise human resources director will never believe in such subjective confession. Therefore, the resume should provide objective proof or facts and data supporting your qualifications and abilities. For example, in 2008, I was awarded by the company for ranking the first in sales performance or I was praised by the manager for my good coordination and organization ability in an exhibition activity. The latter is obviously less objective than the former. Also, to be as objective as possible, first-person “I” should be avoided in your resume.<br /> <br /> ===1.3 Differences between Chinese and English Resumes===<br /> <br /> Although resumes in both Chinese and English are basically the same in form and content, the English resume is not a hard copy of the Chinese resume. Recognizing the difference between the two is the first problem to be faced in the translation work. HRs pointed out that the Chinese and English resumes have the following differences.<br /> <br /> ===1.3.1 Role of Resume===<br /> <br /> If you apply for domestic enterprises and institutions, the submission of a Chinese resume is the first step of the job, English resume plays a supplementary role to the Chinese resume; But for the foreign capital enterprise and the multinational corporation's candidate, the English curriculum vita is a stepping stone for job hunting, and will reflect the candidate’s ability and the quality, which is the key to obtain the interview opportunity.<br /> <br /> ===1.3.2 Reading Target of Resume===<br /> <br /> According to the different reading objects, the Chinese resume should conform to the Chinese reading habits, and the English resume should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”① Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy content. Companies that are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.<br /> <br /> ===1.3.2 Reading Target of Resume===<br /> <br /> According to the different reading objects, the Chinese resume should conform to the Chinese reading habits, and the English resume should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”① Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy content. Companies that are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.<br /> <br /> ===1.3.3 Focus of Resume===<br /> <br /> In order to attract attention in the fierce competition, the design and packaging of some resumes of Chinese job seekers are extremely beautiful and long, more than 2 pages or even 3 pages, all of which are not obvious, and some are accompanied by art photos and various certificates. Pieces make the resume as thick as a magazine. English resumes are often only one page long, concise, relevant, personal, and focused on key words and action words. The keywords describe the practical experience and professional skills necessary for doing a good job. Today, when the computer screening resume system is widely used, the specific keywords appear in the resume is the only rule for job seekers to successfully obtain interviews with foreign companies. Behavioral verbs are mostly transitive verbs, indicating a specific action required to complete a task. Behavioral verbs play a behavior-oriented role in resumes. The so-called behavior-oriented meaning is to use facts to speak, not just to present results. Here are examples:<br /> <br /> ①expressing personal accomplishments:accomplish, achieve , improve, promote, etc.; <br /> ②indicating administrative capabilities: arrange, administer, execute, decide, etc; <br /> ③representing interpersonal communication skills:negotiate, persuade, present, etc; <br /> ④expressing innovation:create, develop, design, launch, etc. <br /> <br /> The use of behavioral verbs is essential for job seekers to demonstrate the core competencies and personal talents that companies require. For example, manage a group of 20 employees and motivate the whole sales team are more attractive than in charge of 20 employees, responsible for the whole sales team, giving a kind of action-like impression and enabling candidates to quickly get the attention of HR and stand out from the crowd.<br /> <br /> ===Chapter 2 Theoretical Framework===<br /> <br /> Skopos theory, unveiled by German functionalist scholar Vermeer and Christiane Nord, is a theory that applies Skopos concept to translation. Its core concept is that the main factor of translation process is the purpose of overall translation behavior. In this context, the translator should adopt strategies or methods appropriate to the translation purpose. This theory represents an innovation compared with the existing translation theories and defines translation as a creative activity. In this chapter, the author of the dissertation focuses on the introduction of Skopos, which involves the background information and principles of Skopos theory.<br /> <br /> ===2.1 Overview of Skopos Theory===<br /> <br /> In the 1970s, functionalist translation theory emerged in Germany. Its development has gone through the following stages.<br /> <br /> The first stage: Katharina Reiss introduced functional categories into translation criticism for the first time, connected language functions, discourse types and translation strategies, developed a translation criticism model based on the functional relationship between source text and target text, and thus proposed the rudiments of functionalism. Reiss thought that the ideal translation should be a comprehensive communicative translation, that is, the translation should be equivalent to the original in terms of conceptual content, language form and communicative function, but the functional features of the translation should be given priority in practice.<br /> <br /> The second stage: Hans Vermeer put forward Skopos theory, which freed translation studies from the bondage of original source-centered theory. This theory holds that translation is a purposeful and resultful behavior based on the original text. Translation must follow a series of rules, among which the law of purpose takes a leading role. In other words, the translation is dependent on the purpose of the translation. In addition, translation should follow the “law of intra-linguistic coherence” and “law of inter-linguistic coherence”. The former implies that the translation must be internally coherent, which is understandable in the eyes of the recipient, while the latter means that there should be coherence between the translation and the original. After these three principles are put forward, the criterion for judging translation is no longer “equivalence”, but the adequacy of the translation to achieve the desired goal. Vermeer also put forward the concept of translation commission, that is, the translator should decide whether, when and how to complete the translation task. That is to say, translators should adopt corresponding translation strategies according to different translation purposes, and have the right to decide what content of the original text can be retained and what needs to be adjusted or modified according to the translation purpose.<br /> <br /> According to Vermeer, the supreme law in translation should be the law of purpose. That is to say, different translation purposes, translation strategies, methods are also different. In other words, the purpose of translation determines the strategies and methods of translation. “Skopos theory” has given a good explanation of the disputes between domestication and foreignization in the history of translation between China and the west, as well as the widely discussed formal equivalence and dynamic equivalence in the translation field in the past 20 or 30 years. Whether to adopt domestication or foreignization in translation depends on the purpose of translation. Since functional translation theory takes “the principle of purpose” as the highest criterion and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and stimulate the audience's desire to watch. Therefore, we need to have a brief understanding of functional translation theory, especially Skopos theory.<br /> <br /> The third stage: Justa Holz Manttaridrew on the theory of communication and behavior, proposed the theory of translation behavior, and further developed the functionalist translation theory, which regarded translation as the interaction between people driven by purpose and oriented by translation results. This theory and teleology have a lot in common, and Vermeer later merged the two.<br /> <br /> The fourth stage: Christiane Nord comprehensively summarized and improved the functionalist theory. For the first time, Christiane Nord systematically elaborated the internal and external factors to be considered in text analysis in translation, as well as how to formulate translation strategies suitable for the purpose of translation based on the functions of the original text. Christiane Nord sorted out various theories of functionalism and proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.<br /> <br /> ===2.2 Principles of Skopos Theory===<br /> <br /> Skopos rule, coherence rule, fidelity rule and loyalty rule are four principles of Skopos theory, among which there exists inter-relationships. In the following part, Skopos theory will be explained in a detailed way.<br /> <br /> ===2.2.1 Skopos Rule===<br /> <br /> From the perspective of Skopos theory, the primary principle to be followed in all translation activities is the “purpose principle”, that is, translation should be able to function in the context and culture of the target language in the way expected by the recipient of the target language. The purpose of the translation behavior determines the process of the entire translation behavior, that is, the method of decision-making. However, translation activities can have multiple purposes, which can be further divided into three categories :(1) the basic purpose of the translator (such as making a living); (2) the communicative purpose of the translation (such as enlightening the readers); (3) the purpose to be achieved by using a particular means of translation (such as literal translation according to the structure of a language in order to illustrate the special features of the grammatical structure). However, in general, “purpose” refers to the communicative purpose of the target text, that is, “the communicative function of the target text in the socio-cultural context of the target language for the target language reader”. Therefore, the translator should make clear his specific purpose in a given translation context, and decide which translation method to adopt-- literal translation, free translation or something in between.<br /> <br /> ===2.2.2 Coherence Rule===<br /> <br /> Coherence rule, also known as intra-textual coherence rule, holds that the target text should meet the criteria of textual coherence. In other words, the translator should understand the reader’s cultural background and social environment when translating the text. Under the guidance of coherence rules, the comprehensibility of the target text is prior to the authority of the original. That is to say, the recipient’s feelings must be taken into account.<br /> <br /> When the translator applies the coherence principle, the target language must be coherent enough to make the recipient understand the whole text. In other words, the translator should follow the principle of coherence and properly adjust the syntactic structure or words in the target language, so as to maintain the coherence of the original text.<br /> <br /> <br /> ===2.2.3 Fidelity Rule===<br /> <br /> According to the fidelity rule, the relationship between source text and target text can be regarded as the fidelity of source text to target text. However, the degree of fidelity depends on the translator, because it is important for him or her to translate and understand the purpose of the original text. At the same time, the translator should be faithful to both the original author and the intention of the author. Therefore, faithful teleology attaches great importance to and tries to determine the relationship among the translator, the author and the receiver.<br /> <br /> ===2.2.4 Loyalty Rule===<br /> <br /> This was put forward by Nord. She found two major defects in Skopos theory. First, people from different cultural backgrounds have different views on a good translation due to the differences in cultural models. In addition, if the communicative purpose of the translation required by the principle of purpose is just opposite to the intention of the original author, then we will abide by the principle of purpose and violate the principle of fidelity. Therefore, Nord proposed the loyalty principle to solve the cultural differences and the relationship between the participants in translation. According to Nord, translators have a moral responsibility to the recipients of the translated text and must explain to them what they have done and why. This is one aspect of the loyalty principle. Another aspect of this principle is that the translator should be loyal to the original author. The translator should respect the original author and coordinate the target language of the translation with the intention of the author. Therefore, the principle of loyalty mainly focuses on the relationship between the translator and the original author, the client, the recipient of the translation and other participants in the translation process. Nord proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.<br /> <br /> In a word, these four principles constitute the basic principles of Skopos theory of translation, but the principle of coherence, the principle of loyalty and the principle of loyalty must be subordinated to the principle of purpose, which is the primary principle of Skopos theory.<br /> <br /> ===Chapter 3Application of Skopos Theory in C-E Translation of Resume===<br /> <br /> From the above, the author has studied some basic knowledge of resume and Skopos theory. In this chapter, the applied of Skopos theory on C-E translation of resume will be discussed, especially, we are going to analyze the translation from lexical, syntactic and textual respectively, which is the most crucial part in the dissertation.<br /> <br /> ===3.1 Application of Skopos Theory in Lexical Translation===<br /> <br /> The selection of English words plays an important role in the translation of resumes. On the one hand, the choice of a good English word can help shorten long sentences and make the resume more convenient and comfortable to read; on the other hand, due to the ambiguity of English words, correct choice of words can solve the ambiguity problem. In order to solve the above problems, using a large number of action verbs, terms and abbreviations are recommended. Next, the above content will be introduced separately.<br /> <br /> ===3.1.1 Action verbs===<br /> <br /> A resume shows the author’s education and work experience. There are lots of action verbs used in resume translation. And most of the sentences that describe job duties and self-evaluation begin with action verbs, such as负责、开发、管理、提出.<br /> <br /> Example 1:<br /> 1.提出新的流程，在减少工作压力的同时，提高了员工的生产能力，成功的向潜在的购买者解释并演示了技术产品的相关科技<br /> 2.开发了销售和市场项目，使购物中心的利润提高了33个百分点<br /> 3.负责华东地区的23家商店的销售和损益<br /> 4.为新华出版社管理23家生产厂家的代表公司的国际和国内销售力量<br /> Translation:<br /> 1. Proposed a new process to reduce the work pressure, improved the production capacity of employees, and successfully explained and demonstrated the technology related to technical products to potential buyers.<br /> 2. Developed sales and marketing programs that increased shopping center profit by 33 percent.<br /> 3. Took charge of sales and profit and loss of 23 stores in East China<br /> 4. Managed the international and domestic sales force of representative companies of 23 manufacturers for Xinhua Publishing House<br /> <br /> These examples are selected from job hunters’ resumes. For those who want to apply for a job on sales, it is common to see the action verbs like “propose”, “develop”, “take charge of” and “manage” in their resume. Through those action verbs, it is conspicuous for readers to know the achievement the job seekers have done during their previous job experiences. When translating, in order to make each sentence start with an action verb, the job hunter adjusts the words order. In this way, it not only gives HR a kind of visual beauty, but also shortens the sentence of translated resume. In addition, frequently using action words shows a more effective, organized and positive job hunters. Obviously, Skopos rule works here since the main purpose of the job hunters is that readers can grasp the core information in a few second so as to add the opportunity of getting an interview among thousands of them. <br /> <br /> Recombination and omission are the vital translation skills here. And the above selection parts employed omission translation skill so as to delete a lot of qualifiers which may cause disturbance for reader to get useful information. However, such a kind of English resume is simple and clear which is convenient for readers to grasp the significant parts. In addition, it is in accordance with the conciseness feature of resume as well.<br /> <br /> ===3.1.2 Terminology and Abbreviation===<br /> <br /> Different fields have different terminologies, which is the product of the advancement of science and culture. With the emergence of the concept of the new things, people adopt a variety of approaches to make appropriate words in their language to label them which can be easily understood by employers. Thus it can be seen that terminology has great impact on resume translation.<br /> <br /> Example 2:<br /> 负责宝马5系，5系混动，1系认证：协调试验工程师，环保申报工程师完成工作，确保认证按节点完成②<br /> Translation:<br /> Take lead of BMW 1 series, 5 series and 5 PHEV models homologation process; coordinate the cooperation of test engineer and EPA specialist to achieve the target on time<br /> <br /> From the example above, we can see that abbreviations in some resumes are sometimes frequently employed, such as PHEV(Plug-in Hybrid Electric Vehicle), BMW(Bavarian Motor Works) and EPA(Environmental Protector Agency). Abbreviations will make the translated resumes look more concise and clear and will not hinder employers to understand what job seekers try to convey.<br /> <br /> Under the Skopos theory, the purpose of a resume is to provide HR with key information about whether a candidate is suitable for the target position, so as to get an interview. Therefore, long and complex sentences should be avoided. Terms and abbreviations are necessary. In this way, the author also proves the use of action verbs, which makes the translated resume more attractive because the reader can immediately get the main information.<br /> <br /> ===3.2 Application of Skopos Theory in Syntactical Translation===<br /> <br /> It usually takes about 30 seconds for an HR to read a resume in English, so neither long sentences nor compound sentences are frequently used in a resume, as this may pose a barrier for HR to attain the key information. Similarly, English resumes should be concise. In order to achieve this goal, non-subject sentences and unified sentences are generally used. Through analysis, the author found that declarative sentence is the most commonly used question, negative sentence. In addition, present and past tense are generally used to introduce personal information and work experience.<br /> <br /> ===3.2.1 Non-subjective Sentence===<br /> <br /> Example 3:<br /> 担任加油站项目开发经理，负责加油站项目的实地调研、车辆分析、投资回报分析及项目可行性报告的完成；对外与政府进行沟通协调、各类准建文件和营业证照的申办等；对内督促工程部门推进站体建设、质量、安全管理等工作。<br /> Translation 1:<br /> As the project development manager of the gas station, I was responsible for the field research, vehicle analysis, investment return analysis and the completion of the project feasibility report of the gas station project. Externally, I communicated and coordinated with the government on the application of various kinds of construction documents and business licenses, and internally urged the engineering department to promote the construction, quality and safety management of the station.<br /> Translation 2:<br /> 1. Served as the gas station project development manage<br /> 2. Was responsible for the field research, vehicle analysis, investment return analysis and project feasibility report of the gas station project<br /> 3. Communicated and coordinated with the government to apply for all kinds of construction documents and business licenses<br /> 4. Urged the engineering department to promote the construction, quality and safety management of the station<br /> <br /> In translation 1, since the language of the resume is complimentary, the use of “I” gives people a sense of pride. In addition, it does not conform to western culture, because westerners are used to simple and direct description. By contrast, translation 2 is much simpler and clearer by omitting the subject “I”. Usually, a non-subject sentence is an elliptical sentence that omits the subject, while the omitting subject is usually the applicant himself. <br /> In conclusion, the non-subjective sentences conform to the Skopos theory, and the translated resumes are shorter, which increases the chances of the interviewee getting the interview. Therefore, ellipsis plays an important role in resume translation. By omitting the first person I, the sentence becomes more concise and to the point. Therefore, it doesn’t take much time for the reader to grasp the key information.<br /> <br /> ===3.2.2 Syntactic Unity===<br /> <br /> When translating resumes, we pay attention to the unified sentence structure to reflect the professional qualities of job seekers, and also meet the requirements of reading fluency. In order to achieve this, translation transformation will be used. For example, verbs in the original text can be converted into adjectives or nouns instead of adjectives. By complementing this sentence structure, the translated resume looks more standardized and attractive because it stimulates HR’s desire to read.<br /> <br /> Example 4:<br /> 1.能熟练操作财务软件，能很好的与人交往，同时学校的生活使我锻炼了团队合作精神<br /> 2.责任心强，工作效率高，认真仔细，具有创新意识，善于分析和解决问题<br /> 3.熟练掌握MATLAB， MS office software。 计算机二级VB，三级数据库。<br /> Translation:<br /> 1. Proficient in operating financial software, good at communicating with others, stronger in teamwork spirit in school life<br /> 2. Strong sense of responsibility, high efficiency, careful, innovative and good at analyzing and solving problems<br /> 3. Skilled at MS office software and MATLAB. Passed National Computer Rank Examination Grade 3(database) and Grade 2(VB)<br /> <br /> Through the translation of examples selected above, each sentence is begun with a phrase led by an adjective or the past participle of a verb which is consistent with the principle of syntactic unity. Considering the background of western culture, as well as the convenience for readers, such an approach seems practical in resume translation. Syntactic unity not only makes the translated resume more attractive, but will also let our resumes stand out among thousands of competitors. Because for one thing, it provides readers with a sense of visual beauty, and for another, more information will be attained.<br /> Under Skopos theory, the unification of non-subjective sentences and syntax is an effective means of Chinese-English translation. Moreover, the author also found that English resumes use declarative sentences because of their narrative usage. Sentences such as questions and negatives are rarely used. In addition, the present and past tenses in English resumes are widely used for their objectivity. Generally, a job seeker will present his or her personal information and experience objectively, which is why the above tense is used.<br /> <br /> ===3.3 Application of Skopos Theory in Textual Translation===<br /> <br /> In previous parts, the author of the essay has studied application of Skopos theory in lexical translation and syntactical translation. And in the following part, application of Skopos theory in textual translation will be further analyzed, which includes translation of personal information and concise style.<br /> <br /> ===3.3.1 Translation of Personal Information===<br /> <br /> There is a big difference between the English resume, because the use of the English resume for the international environment, such as multinational companies, so the Chinese resume English translation should follow the principle of alienation, and the English resume should be easy to be accepted by the reader. Here is an example.<br /> <br /> Example 5:<br /> <br /> 姓名：张三<br /> <br /> 性别：男<br /> <br /> 年龄：25<br /> <br /> 身高：185<br /> <br /> 政治面貌：团员<br /> <br /> 婚否：已婚<br /> <br /> 地址：湖南省长沙市岳麓区<br /> <br /> 电话：1337658xxxx<br /> <br /> 电子邮件：Zhangsan2008@163.com<br /> <br /> Translation:<br /> <br /> Zhang San<br /> <br /> Yuelu District, Changsha, Hunan Province<br /> <br /> Tel:1337658xxxx<br /> <br /> Email:Zhangsan2008@163.com<br /> <br /> By comparing the above resumes in both Chinese and English, we can clearly see that English resumes are much simpler than Chinese resumes, and a lot of private information has been deleted, such as date of birth, political status, marital status, height and photos, etc. The purpose is to avoid discrimination. In addition, the writing of addresses in Chinese and English resumes is also very different, so the author adopted a translation method of word order adjustment.<br /> <br /> ===3.3.2 Concise Style===<br /> <br /> As we know, simple and concise are two core principle of resume translation, because it achieves the purpose of high efficiency. Therefore, job seekers do not have to repeatedly emphasize the various scholarships or grades they have achieved between school or work. This not only makes people feel that job seekers have limited work experience, but also seem boring. Next, the author will give an example of the above.<br /> <br /> Example 6:<br /> <br /> 2016.9湖南师范大学2015~2016年度“校三等奖学金”、“校三好学生”及“优秀学生干部”<br /> <br /> 2017.9湖南师范大学2016~2017年度“国家励志奖学金”、“校三好学生”及“优秀共青团员” <br /> <br /> 2018.9湖南师范大学2017~2018年度“校二等奖学金”、“校三好学生”及“优秀学生会干部”<br /> <br /> Translation 1:<br /> <br /> 2016.9 Third-class Scholarship、 Excellent Student and Fine Student Leader in Hunan Normal University<br /> <br /> 2017.9 National Scholarship for Higher Motivation、Excellent Student and Outstanding League Members in Hunan Normal University<br /> <br /> 2018.9 Second-class Scholarship、Excellent Student and Fine Student Union Leader in Hunan Normal University<br /> <br /> Translation 2:<br /> <br /> Third-class and Second-class Scholarship<br /> <br /> National Scholarship for Higher Motivation <br /> <br /> Excellent Student(2 Times)<br /> <br /> Fine Student Leader and Fine Student Union Leader<br /> <br /> Outstanding League Members<br /> <br /> The above example is taken from the resume of an undergraduate student. The first version was translated by the applicant himself, and the second version was modified. By comparing the two versions above, we can know that the second version is more concise and clear compared with the first one. It uses ellipsis and combination of translation skills to describe the academic achievements and honors of the applicants, without repeating the name and time of the school as the first one did. It's easier to stand out.<br /> <br /> ===Conclusion===<br /> <br /> When translating Chinese resumes into English, Chinese people often copy and ignore the habits of English resumes in terms of format, language and cultural traditions. Therefore, in the process of translating Chinese resumes into English, we must pay attention to the format characteristics of English resumes and the key points of language writing, as well as the cultural differences between China and the West, and the awareness of cross-cultural communication.<br /> <br /> A resume is an indispensable application style for job application. It is a written introduction showing the image, expertise and experience of the job seeker. No matter what kind of briefing, the purpose is to seek job interviews for job seekers and get the job opportunities. Therefore, in order to reduce the obstacles encountered in job hunting and achieve a smooth job search, in the process of translating Chinese resumes, it is necessary to use the translation teleology as a guide, and according to the reading habits of English readers, the necessary arrangement and reorganization can be used to maximize the role of resumes.<br /> <br /> Although this paper can provide some inspiration for job seekers, there are still limitations in the paper. The biggest limitation is that there are too few samples of resumes cited in the article, so the cases may be less than typical and comprehensive. Taking into account the limitations of the paper, the author believes that in the future research, the cases should be involved in a wider range and more numbers, so as to make a more comprehensive and convincing analysis.<br /> <br /> ===Notes===<br /> <br /> ① 高琳. 跨文化视角下中英文简历的语类分析[D]. 天津: 天津商业大学, 2015: 10.<br /> <br /> ② 胡婷婷. 目的论指导下的简历的英译[D]. 吉林: 吉林财经大学, 2018: 22.<br />  <br /> <br /> ===Bibliography===<br /> <br /> [1] Baker, Mona. Routledge Encyclopedia of Translation Studies[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2] Bhatia, K. Analysis Genre: Language Use in Professional Settings[M]. London: Longman, 1993.<br /> <br /> [3] Nida, E.A. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [4] Nord, Christiane. Skopos, Loyalty, and Translation Conventions[J]. Amsterdam and Philadelphia: Benjamins, 1991(4).<br /> <br /> [5] Nord, Christiane. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> [6] Peter, Newmark. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Education Press, 2001.<br /> <br /> [7] Reiss, Katharina and Vermeer, Hans J. Groundwork for a General Theory of Translation[M]. Tubingen: Niemeyer, 1984.<br /> <br /> [8] Swales, M. Genre Analysis: English in Academic and Research Settings[M]. Shanghai: Shanghai Foreign Language Education Press.<br /> <br /> [9] 楚天舒. 求职简历不容忽视的九大细节[J]. 中国大学生就业, 2008,(8).<br /> <br /> [10] 胡婷婷. 目的论指导下的简历英译[D]. 吉林: 吉林财经大学, 2018.<br /> <br /> [11] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 2010.<br /> <br /> [12] 高琳. 跨文化视角下中英文简历的语类分析[D]. 天津: 天津商业大学, 2015.<br /> <br /> [13] 张培基等. 英汉翻译教程[M]. 上海: 上海外语教育出版社, 1980.<br /> <br /> [14] 朱理萍. 求职简历汉英小译[D]. 上海: 上海外国语大学, 2008.<br /> <br /> [15] 庄绎传. 英汉翻译简明教程[M]. 北京: 外语教学与研究出版社, 2002.<br /> <br /> === The Translation of English Film Title—Under the Perspective of Skopos Theory 杨悦 Yang Yue==<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> == On functional equivalence and formal equivalence and their application in translation 陈静静 Chen Jingjing==<br /> <br /> ==='''Abstract'''===<br /> Translation plays an indispensable role in modern cross-cultural communication. In this process, translators are supposed to achieve the equivalence between the source text and the target text to the greatest extent. Translation theory is of great importance to steer them towards this. Nida put forward the well-known theory of formal equivalence and functional equivalence which pursues the equivalence in form and content and that in function between the two languages separately. This paper focuses on their introduction and differences as well as their application in translation so as to provide more guidance for translators and promote people’s deeper understanding on functional equivalence and formal equivalence.<br /> <br /> ==='''key words'''===<br /> <br /> functional equivalence, formal equivalence, translation<br /> <br /> ==='''摘要'''===<br /> 翻译在现代跨文化交际中起着非常重要的作用，而在这一过程中，译者需要尽可能实现源文本和目标文本之间最大的对等。翻译理论在其中则对译者具有非常重要的指导作用。奈达提出了“形式对等”和“功能对等”理论，“形式对等”是以源语为中心，追求原文形式和内容之间的对等，而后者强调实现两种语言之间功能上的对等。该论文主要对形式对等和功能对等进行简单介绍并分析两者之间的差异以及它们在翻译之中的运用，以使译者对它们有更为深入的了解。<br /> <br /> ==='''关键字'''===<br /> 功能对等，形式对等，翻译<br /> <br /> ==='''Introduction'''===<br /> <br /> ===Functional Equivalence===<br /> In order to set a standard for the transition between the source language and the target language, Nida, based on the essence of translation, put forward the theory of dynamic equivalence but later replaced it with the name of functional equivalence as he was convinced that it will better reflect the communicative function.<br /> <br /> Functional equivalence mainly includes lexical equivalence, syntax equivalence, textual equivalence and stylistic equivalence. According to Nida, when translating, you need to use the most appropriate, natural and equivalent words to express the information of the source text, that is to say, functional equivalence is prior to formal equivalence. Therefore, we need to try to achieve equivalence in form when we pursue the equivalence in content. In the book “Language, Culture, and Translation”, Nida divides functional equivalence into “minimal equivalence” and “maximum equivalence”. The basic point of “functional equivalence” is to compare the way of understanding and appreciating the original text by the readers of the target text, and requiring the readers of the target text to be able to perceive the translation. The extent to which readers of the original text understand and appreciate the original text( the minimum functional equivalence), the readers of the target text should basically be able to understand and appreciate the target text in the way that the original reader understands and appreciates the original text( the maximum functional equivalence). <br /> <br /> To accurately reproduce the source language culture and eliminate cultural differences, the translator can follow these three steps. First, the translator should strive to make the translation not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. However, two kinds of languages represent two completely different cultures and similar elements may exist in the two cultures but they can't be exactly the same. Therefore, it is impossible for a translator to fully display the cultural connotations of the original text. Second, if meaning and culture can’t be taken into account at the same time, the translator has to abandon the formal equivalence and achieve the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation. Third, when changing the form still doesn’t work, the translation technique of “reconstruction” can be used to achieve the equivalence in meaning between the source text and the target text. It means transforming the deep structure of the source text into the surface structure of the target text , that is, the cultural connotations of the source text could be elaborated by words of the target language. In terms of the the status of source text and the translator, according to this theory, minor adjustment of the source text is allowed when necessary but we are not encouraged to modify it. Consequently, it seems that the source text is in a high position so the translator must give preference to it. From the perspective of translation standard, domestication is preferred in functional equivalence when we consider the cultural factors. What’s more , it is commonly used in literary translation. <br /> Functional equivalence is of great importance for it brings the contest between the literal translation and free translation to an end and provides a new translation standard, but on the other way, it turns the translation into an activity merely concerned with language.<br /> <br /> ===Formal equivalence===<br /> <br /> ===Relationship between functional equivalence and formal equivalence===<br /> <br /> ===Application of functional equivalence and functional equivalence in translation===<br /> <br /> ===Lexical equivalence===<br /> <br /> ===Syntax equivalence===<br /> <br /> ===Texual equivalence===<br /> <br /> ===Stylistic equivalence===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===References===<br /> <br /> == My understanding of Translation Equivalence Nguyen,Thuy Hien Nguyen, Thuy Hien ==<br /> <br /> == Functional Equivalence in the Translation of Ken Liu 肖茜 Xiao Xi==<br /> ==='''Abstract'''===<br /> Hao Jingfang’s science fiction ''Folding Beijing'' won the Hugo Award for Best Novelette in 2016. The success of this fiction is inseparable from Ken Liu’s rigorous translation work. Focusing on the response of the target readers, the translation of this fiction not only retains the meaning and style of the fiction, but also effectively transmits the Chinese culture, which is in line with the requirement of the theory of Nida’s functional equivalence to “quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptors essentially like that of the original receptors”. The theory of Nida’s functional equivalence, one of the earliest translation theories introduced into China, has produced a profound effect on translation studies in different literary genres. This paper studies the English translation of Folding Beijing and analyses Ken Liu’s application of functional equivalence in translation, and proves the value of functional equivalence theory in the translation of science fiction.<br /> <br /> ==='''Key words'''===<br /> Functional Equivalence; Folding Beijing ; meaning; style; culture<br /> <br /> ==='''摘要'''===<br /> 郝景芳的科幻小说《北京折叠》获得了2016年的雨果奖最佳中篇小说奖，该小说的成功，离不开刘宇昆严谨的翻译工作。该小说的翻译以关注译文读者反应为出发点，既保留了小说的意义与文体风格，又有效传递了中国文化，这与功能对等理论提出的“努力创造出既符合原文语义又体现原文文化特色的译作”的要求相契合。奈达功能对等理论，是最早被引进中国的翻译理论之一，对中国各文学类型的翻译研究影响深远。本文对《北京折叠》的英译本进行研究，分析刘宇昆在翻译时对尤金奈达功能对等理论的运用，展现功能对等理论对科幻小说翻译的价值。<br /> <br /> ==='''关键词'''===<br /> 功能对等；《北京折叠》；意义；风格；文化<br /> <br /> ==='''Introduction'''===<br /> In the science fiction Folding Beijing, the future Beijing is overpopulated. In order to solve this crisis, people transform it into a folding city with strict hierarchy. The folding city is divided into three spaces. They share 48 hours, and the first space is occupied by the upper classes of society, who have a 24-hour time cycle at their disposal; The second space is occupied by the middle class, who can spend 16 hours; The third space is inhabited by the lower classes, who have only eight hours of the night. Lao Dao belongs to the third space. He wants his daughter to go to a good school, and he ventures into the second and third space to deliver letters to others in order to make money. Although the novel is a futuristic science fiction, it is also realistic, revealing the class differences in the process of urbanization and modernization.<br /> This science fiction novel has many Chinese characteristics and has many local Chinese words. The cultural differences between China and the West caused by regional factors and customs are a big problem for translation. The translator should not only consider the readers’ understanding and feelings, but also ensure that the local colors in the works are not deleted. Functional equivalence theory shows that translation should not be limited to form, and translators can make necessary adjustments to the form and structure of the original text, so as to achieve the equivalence of content and information. Nida’s functional equivalence theory has exerted a far-reaching influence on China, and also brought new and effective translation guidance methods to translators. We can see that when Ken Liu translated science fiction, he was also trying to achieve the balance and coordination between the translation and the original text. From the perspective of functional equivalence theory, this paper analyzes the English translation of Folding Beijing from the perspectives of meaning, style and culture, and discusses how the translator achieves the closest equivalence with the original text and whether the ideal equivalence is achieved.<br /> <br /> '''1.Eugene A. Nida and His Theory of Functional Equivalence'''<br /> <br /> Eugene A. nida, an American scholar and translator, he explains the dynamic equivalent translation in his influential work ''Toward a Science of Translating''. Dynamic equivalence aims at the closest and most natural equivalence between the target text and the source text, and focuses on the equivalence of readers’ response, not just the equivalence of content and form. In his book ''The Theory and Practice of Translation'', Nida defined dynamic equivalence as follows: Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.（Nida，2004：24）Nida’s dynamic equivalence theory requires that the translation readers’ response to the translation should be consistent with that of the original readers. <br /> Since dynamic equivalence is controversial in some aspects, Nida replaced dynamic equivalence with more perfect functional equivalence in 1993. There are a number of related principles that govern the degree of adjustment necessary to produce a satisfactory equivalent translation. As functional equivalence translation is defined as the closest and most natural equivalent translation of the source language information, three principles should be followed by translators to achieve functional equivalence. In order to achieve functional equivalence, the translator must make the translation fit(1) the context of the source-language message, (2) the receptor-language reader’s response, (3) the receptor language and culture as a whole. Nida defined the reader’s response as the essence of his functional equivalence theory, that is, from the form and content of information to the reader’s response. It is different from the traditional translation theory, which emphasizes the comparison of verbs between the original text and the target text. Functional equivalence concerns reader’s responses. If the target language reader’s understanding and appreciation of the target language is essentially the same as that of the original language readers, the target language can be regarded as a functional equivalence. In other words, the functional equivalence of Nida emphasizes the reader’s response to the translation.<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> == On Translation of EST into Chinese-- From the Perspective of Functional Equivalence 周园曲 Zhou Yuanqu==<br /> <br /> ='''Applicaton of Translation Theories'''=<br /> ==Study of Application of Interpretive Theory in Escort Interpretation 韩宛真 Han Wanzhen==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ='''Theory and Practise'''=<br /> <br /> <br /> ==The Development of Translation in Chinese Buddhist Scriptures and Western Biblical Scriptures 陈佳欣 Chen Jiaxin==<br /> <br /> ==An Analysis of the Books of ''Translation，History and Culture: A Sourcebook'' and ''A Comparative Study of Chinese and Western Translation Thoughts'' 成于思 Cheng Yusi==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> 安德烈·勒菲弗尔，《翻译，历史与文化论集》，刘宓庆，《中西翻译思想对比研究》<br /> <br /> <br /> ==='''I.Introduction'''===<br /> <br /> ==='''II.Analysis of ''Translation, History and Culture: A Sourcebook'''''===<br /> <br /> Translation, History and Culture: A Sourcebook, written by a famous American scholar André·Lefevre, is a collection of seminal statements or texts of thinking about translation in Western Europe, spanning twenty centuries from 106 BC to 1931 AD. A number of texts collected in this book were published in English for the first time, which served as an important supplement to the system of thinking of translation. The collected excerpts are arranged in eight themes, including the role of ideology, the power of patronage, poetics, universe of discourse, translation, the development of language and education, the technique of translating, central texts and central cultures, and longer statements. Such an exclusive arrangement is intended to highlight the important thinking of translation, to effectively illustrate the constraints imposed on translation, to discuss the position of culture, the role translation played in education, and to give out technique of translating concerning translation practice, thus dwarfing the traditional chronological arrangement. As such, the book is proved to be worth reading for those who study translation. <br /> <br /> <br /> ==='''III. Analysis of ''A Comparative study of Chinese and Western Translation Thoughts'''''===<br /> <br /> ==='''IV.Comparison between the books of ''Translation History and Culture: A Sourcebook'' and ''A Comparative study of Chinese and Western Translation Thoughts'''''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> ==The development and future trend of translation Theory 张慧 Zhang Hui==<br /> <br /> ==A Cultural Critique of Foreignization and Domestication 吴子佳 Wu Zijia==<br /> <br /> ==='''Abstract'''===<br /> Domestication and foreignization ，as two important translation methods, play an important role in many areas, the language is the carrier of culture, the differences between different cultures is the important obstacle of cross-cultural communication.And each of the two translation strategies has its own advantages and disadvantages. During translation, an interpreter is required not only to have good command of translation, but also need to grasp a foreign cultural psychological and ideological values, cultural knowledge reserve purpose countries and consider the national psychological acceptance, while standing in the source language, on the basis of national culture, realize the cultural exchanges between the two countries. This paper intends to discuss the advantages and disadvantages of domestication and foreignization in the translation of different cultures (such as tourism culture, food culture, literary works, etc.), and to select the essence and discard the dross in order to find better translation methods and achieve better cultural promotion and cross-cultural communication.<br /> <br /> ==='''Key words'''===<br /> <br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==摘要==<br /> <br /> ==关键词==<br /> <br /> ='''Contemporary Translation Studies'''=<br /> <br /> <br /> ==On the Influence of Linguistics on the Construction of Translatology 孔祥慧 Kong Xianghui==<br /> <br /> ==Translation, History and Culture and Introducing Interpreting Studies 李璐伊 Li Luyi==<br /> <br /> ==Reflection on the Learning of Translation Studies in China 许晶 Xu Jing==<br /> <br /> ==The influence of translator's cultural identity on translation 周玉娟 Zhou Yujuan==<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan's works 邹鑫雨 Zou Xinyu==<br /> <br /> ==Yan Fu from descriptive translation studies 曹润鑫 Cao Runxin==<br /> <br /> <br /> ='''Translation Thoughts'''=<br /> <br /> <br /> ==An Analysis of Translator’s Subjectivity from the Perspective of Cognitive Metaphor李玉 Li Yu==<br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Lexical Gap between English and Chinese and its translation strategies 孟莹 Meng Ying==<br /> <br /> ==On Form and Spirit in Translation 文偲荇 Wen Sixing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> translation methods，form，sprit<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> 翻译方法，翻译的形与神<br /> <br /> ===The form of translation===<br /> <br /> ===The sprit of translation===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==Comparison of Nida's and Newmark's Translation Theories——Taking &quot;2017 APEC Speech&quot; as sample 周诗卿 Zhou Shiqing==<br /> <br /> ='''Translation Strategies'''=<br /> <br /> <br /> ==The Study on the Translation Strategies, Translation Methods and Translation Techniques in Seeking Happiness for People: 70 Years 朱素瑶 Zhu Suyao==<br /> <br /> ==Translator's invisibility vs. Translation Studies 胡百辉 Hu Baihui==<br /> <br /> ==Translation of Business Contracts from the Perspective of Functional Equivalence Theory 胡瑾 Hu Jin==<br /> <br /> ==The translator's invisibility 张毓婕 Zhang Yujie==<br /> <br /> ==Study of Domestication and foreignization in Cross-cultural Translation 顾东方 Gu Dongfang==<br /> <br /> ==The Translation Strategies of Chinese Political Terms under the Standard of &quot;Political Equivalence&quot; 高明珠 Gao Mingzhu==<br /> <br /> ===Abstract===<br /> With the development of globalization, the political communication among countries is more and more frequent, and the translation of political terms has gradually become one of the heated topics in the translation field. Political terms translation is challenging, because not only does it concern the relationship between countries, national status, political attitude and other important issues, but also it is developmental. Political neologisms will keep emerging, and some political terms will contain new connotations with the advancement of the times. In addition to the above characteristics, Chinese political vocabulary has many affixes, abbreviations, four-character phrases, metaphors.In 2008, Yang Mingxing and other scholars put forward the &quot;Political Equivalence&quot; based on Eugene Nida's &quot;Functional Equivalence&quot; theory for the translation of Chinese political terms, which pointed out that the translation of political words should follow the three principles of &quot;political&quot;, &quot;dynamic&quot; and &quot;balanced&quot;. On the basis of some related papers, this chapter will sum up the specific strategies such as supplement, omission, keeping or converting analogical body, adding explanation and narration for translating Chinese political terms with characteristics of having lots of affixes, abbreviations, four-character phrases and metaphors following the guidance of &quot;Political Equivalence&quot;.<br /> <br /> ===Key words===<br /> political equivalence Chinese political terms translation strategies<br /> <br /> ===摘要===<br /> 随着全球化的发展，各国间的政治交流愈加频繁，政治词汇的翻译也逐渐成为翻译界讨论热点之一。政治词汇的翻译是具有挑战性的，不仅是因为它关系到国与国之间的关系、国家地位、政治态度等重要问题，而且因为政治词汇是发展性的，政治词汇中会不断有新的词汇涌进，且某些政治词汇会随着时代的发展而增加新的内涵。而中国政治词汇除了具有以上特点，它还有多词缀、缩写、四字短语[1]，多用隐喻等修辞手法的特点。2008年，杨明星等学者针对中国政治词汇的翻译，基于尤金·奈达的“功能对等”理论提出了“政治等效”翻译标准，该标准指出政治词汇的翻译要遵循“政治性”、“动态性”、“平衡性”三大原则。本文基于相关文献，总结出在该标准下，对中国政治词汇在具有多词缀、缩写、四字短语及多采用隐喻这几个特点下的翻译可采用的具体的翻译策略，如增补法、省略法[1]、喻体保留法（完全保留、部分保留）、喻体转换法、喻底补充法、喻义直叙法[2]等。<br /> <br /> ===关键词===<br /> 政治等效 中国政治词汇 翻译策略<br /> <br /> ===1. The Significance of Translating Political Terms===<br /> ===2. The Difficulties in Translating Political Terms===<br /> ===3. The Proposal and Connotations of Political Equivalence===<br /> ===4. The Three Principles of Political Equivalence ===<br /> ===5. Translation Straties under The Standard of Political Equivalence===<br /> ===(1)The Characteristics of Chinese Political Terms=== <br /> ===(2)Translation Strategy---Supplement===<br /> ===(3)Translation Strategy---Omission===<br /> ===(4)Translation Strategy---Keeping or Converting Analogical Body===<br /> ===(5)Translation Strategy---Adding Explanation and Narration===<br /> ===6. Conclusion===<br /> ===7. References===<br /> <br /> ='''Translation Appreciation'''=<br /> <br /> <br /> ==Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 袁诗琦 Yuan Shiqi==<br /> <br /> ===27.1.1 Abstract===<br /> ===27.1.2 Key words===<br /> ===27.1.3 摘要===<br /> ===27.1.4 关键词===<br /> ===27.1.5 Introduction===<br /> ===27.1.5.1 Introduction to ''Walden''===<br /> ===27.1.5.2 Introduction to Xu Chi's translation of ''Walden''===<br /> ===27.1.6 Stylistic Features of ''Walden''===<br /> ===27.1.6.1 Lexical Features of ''Walden''===<br /> ===27.1.6.2 Syntactic Features of ''Walden''===<br /> ===27.1.6.3 Rhetorical Features of ''Walden''===<br /> ===27.1.7 Conclusion===<br /> ===27.1.8 References===<br /> <br /> ==A Comparison Beteewn the Translation Systems Proposed by Tan Zai and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation. 王美玲 Wang Meiling==<br /> <br /> &lt;center&gt;王美玲 Wang Meiling&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> The Renaissance is the fourth peak in the history of Western translation and a great development in the history of Western literature. During the 16th century and the period following the Renaissance in Europe, translation reached an unprecedented climax in the fields of thought, politics, philosophy, literature and religion. At that time, the German translation of the Bible by the Martin Luther is the most well-known one in the whole translation circle, and its influence is unique and long-standing in Germany as well as in the whole Europe continent. Since the Reform and Opening-up, China has gradually stepped into the center of the world arena, and its literary works bearing the quintessence of Chinese culture has become a crucial bridge connecting the rest of the world with China. Despite the rise of machine translation, it can never replace the overwhelming role of human translation in the literary translation. Luther’s translation thoughts have exerted an important influence on the development of Western translation theories, so what sparks can be drawn between his translation principles and Chinese modern culture and literary works? This paper makes a brief comment on the main translation activities of renaissance, then compares the translation thoughts of Luther and Lu Xun, and applies Luther’s detailed translation rules to the actual translation practice,finally analyzes the influence of Luther’s translation thoughts and principles on modern translation practice and their significance for reference.<br /> <br /> ==='''Key words'''===<br /> <br /> Renaissance; Luther; literary works; translation principles; influence;<br /> <br /> ==='''摘要'''===<br /> <br /> 文艺复兴运动是西方翻译史的第四次高潮，也是西方文学史上的一次大发展。文艺复兴在欧洲普遍开展的16世纪以及随后一个时期，翻译活动达到了前所未有的高峰，深入思想、政治、哲学、文学宗教等各个领域。在整个翻译界，德国马丁·路德的《圣经》德译本是该时期最负盛名的译本，其影响不论是在德国乃至整个欧洲都是独一无二且源远流长的。改革开放以来，中国日益走进世界舞台中央，承载着中华文化精髓的文学作品成为了重要桥梁。纵然机器翻译兴起，但绝不能替代人工翻译在文学翻译领域的绝对性地位。路德的翻译思想对西方翻译理论的发展产生了重要影响，那么其翻译思想和理论原则与中国当代文化及文学作品又能擦出什么样的火花呢？本文将通过对文艺复兴时期的主要翻译活动进行简评，再对比路德与鲁迅的翻译思想，接着将路德的翻译细则运用到实际的翻译实践中，分析路德的翻译思想及理论原则对于当代翻译实践的影响以及借鉴意义。<br /> <br /> ==='''关键词'''===<br /> <br /> 文艺复兴；路德；文学作品；翻译原则；影响；<br /> <br /> ==='''Introduction'''===<br /> <br /> The Protestant Reformation Movement in Germany in the 16th century ushered in a new era of translation and dissemination of Bible.Under the protection of Protestantism, Martin Luther devoted himself to the German translation of the Bible. By the time of 1544 Luther’s death, 430 versions of his Bible translation had been published. In order to make common people more directly understand the meaning of the Bible, Martin Luther translated it in national language. He insisted on his translation thought and fought against the church power and his opponents. He made unremitting efforts in the great project of the Bible translation, which promoted the unification of German language and created a graceful literary language.His translation thoughts are still of great significance to the current translation theory and practice.&quot;First of all, from a historical point of view, translation has two main functions in promoting the birth and development of national culture and the transformation of national culture into world culture: one is to promote cultural exchange; the other is to disseminate ideas.&quot;<br /> <br /> Since the beginning of reform and opening-up, China has gradually stepped onto the world arena. China persists in its cultural development geared to the needs of the world and actively promotes cultural development to the world. Literary works bear the essence of Chinese culture, whose export is an crucial way to spread Chinese culture to the world. Over the years, despite the rise of machine translation, which has a certain practical role, it can not replace the overwhelming role of manual translation in literary translation. So what significance does Luther’s translation thought and theory born in the reform era have in guiding modern translation theory and practice, especially in the field of literary translation?<br /> <br /> ===Chapter 1 Brief comments on translation thoughts in the period of Renaissance===<br /> <br /> '''1.1 '''<br /> <br /> '''1.2 '''<br /> <br /> '''1.3 '''<br /> <br /> '''1.4 '''<br /> <br /> ===Chapter 2 Comparison of translation thoughts between Luther and Lu Xun===<br /> <br /> ===Chapter 3 ===<br /> <br /> ===Chapter 4 ===<br /> <br /> ==Study on Interpreter's Memory and Translation Memory in Interpreting 康浩宇 Kang Haoyu==<br /> <br /> ===Abstract===<br /> <br /> ===摘要===<br /> <br /> ===Chapter 1 Introduction===<br /> <br /> '''1.1 Background'''<br /> <br /> Memory plays an important role in interpreting and it is a kind of interpreting competence. The information processing in interpreting is complicated. When the information is input, interpreter first recognize and keep the information, which will then be analyzed, encoded, stored and retrieved. And the interpreter finally decode the information into target language(Wang Jianhua, 2019).Because of the fast input of information and limited time for pausing, great memory is required for interpreters. Whether a good or poor memory has a direct effect on the quality of interpreting. <br /> With the development of science and technology, machine translation and computer aided translation, which is also called CAT, was invented as two effective and efficient ways for translation. In CAT, there is a concept called translation memory. Different from human beings’ memory, translation memory is more likely a database. Nowadays, translation memory of CAT has been put into wide use in translation. And in recent years, translation memory has also been applied as a tool in interpreting. As the technology is not yet mature, there are still some limitation and weakness.<br /> <br /> '''1.2 Significance of the Study'''<br /> <br /> There are some studies on the memory of interpreters. But most of them focus on its practical aspects such as how to improve interpreters’ memory or how to make the best of memory in interpreting, instead of substantial facts. The nature of memory and mechanism of memory is also worthy to be studied, so readers can have better understanding and cognition of what is memory and how it works. Therefore, readers can better address our problems in memory of interpreting. The study will fully analyze memory from the aspect of psychology and science. And then it will study on memory of interpreting in details including systems, mechanism, coding and theories. <br /> Translation memory is quite a novel topic as it belongs to a sort of science and technology. As the world stepped into information era, digital era and even Artificial Intelligence era, translation memory has been used more widely than ever before. It really facilitates the translators as it both saves a lot of time and greatly improved the translation efficiency. However, there are few studies on the translation memory application in interpreting field. Actually, in many situations, interpreters also uses this kind of technology to help their interpreting. They study will research on the fact of translation memory in interpreting.<br /> <br /> '''1.3 Structure of the Study'''<br /> <br /> This thesis will be developed in five chapters. <br /> Chapter 1, the introduction part, is initiated by introducing the background, research problems, and significance of the study.<br /> Chapter 2 is functioned to define and categorize the memory.<br /> Chapter 3 will present the memory mechanism and related theories in interpreting.<br /> Chapter 4 will mainly focus on the translation memory technology at present and its application in interpreting.<br /> The concluding chapter generalizes the content of the study and put forward the limitations.<br /> <br /> ===Chapter 2 Study on Memory===<br /> <br /> '''2.1 The definition of the Memory'''<br /> <br /> Memory has different definitions in different fields. Generally speaking, human memory is a reflection of what the brain has experienced. From the perspective of psychology, memory is the recognition, maintenance, reappearance of experienced things by the human brain, and it is the basis of advanced psychological activities such as thinking and imagination. It is the retention and extraction of past experience by human brain. It is a psychological process in which individual experience is accumulated and preserved in the mind. All things that have been perceived can be kept in people's minds, and can be reproduced when necessary. This refers to the process in which the human brain encodes, stores and extracts meaningful information input from the outside world(Peng Danlin，1991). From the perspective of neurology, human memory is closely related to the changes of chemical composition in hippocampus and brain. All memory that exists in the brain depends on various nerve cells of the brain, which are called neurons. According to information processing theory, memory process is the process of encoding, storing and extracting input information. Only coded information can be remembered. Coding is the process of processing and transforming the input information, and coding is the key stage of the whole memory process.<br /> <br /> '''2.2. Memory Systems'''<br /> <br /> Based on the structure, memory can be categorized into three systems. There are sensory memory, short term memory and long term memory. The later two systems are also often referred as STM and LTM. The three memory systems are different from each other but closely related.<br /> <br /> '''2.2.1 Sensory Memory'''<br /> <br /> As the shortest memory system, sensory memory is the first channel for human brain to get the information. It has some capacity. According the research in Cognitive Psychology(Wang Su, Wang Ansheng, 1992), People’s visual sensory capacity is more than 9 chunk while their auditory sensory memory capacity has less capacity, which is about chunk. chunk here are memory units, and the size of chunk varies with people's knowledge and experience. A chunk can be a word, a number, a phrase, a sentence, a word list, etc. Sensory memory works as temporary storage for sensory information. It depends on the physical nature of external stimulus to code the information and it is the real copy and transcription of the external stimulus. Most sensory memory can stay for one to two seconds and then disappear. Only with more attention and focus can the sensory memory be processed and then become short term memory(Bao Gang, 2005). People’s visual sensory memory can just keep for less than one second while their auditory sensory memory can keep for 4 seconds. It is inevitable that information will lose with the disappearance of sensory memory. <br /> <br /> '''2.2.2 Short Term Memory'''<br /> <br /> Short term memory is the second memory system. Short term memory is based on the neuron network in hippocampus. It keeps the information that has been selected in the hippocampus of human brain. In some cases, part of information will move from the short memory in hippocampus to long term memory in cerebral cortex. In psychology, short term memory can keep for about one minute with the capacity of about 7 chunks. That means that people can memorize seven unrelated numbers or phonemes for about one minute with their short term memory. However, the capacity of short term memory is not decided by the amount of stimulus but by the modes of chunk and coding. Chunks can effectively expand the capacity of short-term memory. When processing information, people can use the knowledge and experience stored in long-term memory to combine several single stimuli into larger information units, which can effectively expand and increase short-term memory span and improve memory efficiency. Moreover, the coding of short-term memory is mainly auditory coding, and there are also visual coding and semantic coding. Instead of chunk and information unit, people can also use retelling to transfer short term memory to long term memory. Retelling refers to the psychological operation process of repeating the materials just memorized by language to consolidate memory. In the case of retelling, the learning materials kept in short-term memory will transfer to long-term memory. The content of short-term memory can be transformed into long-term memory by retelling. <br /> <br /> There is a special type of short term memory, working memory. The concept working memory was first proposed by Baddeley and Hitch. It is used to describe the process of a person temporarily memorizing the fact and thoughts when addressing problems or working(Baddeley, 2006). In spite of limited resources and storage time, working memory is still different from short term memory in temporary storage of information(Hitch, 2012). Compared with short term memory which store information passively, the working memory process is more dynamic. Generally speaking, there are three differences. First, working memory emphasizes storing and processing information at the same time, while short-term memory only focuses on information storage. Secondly, working memory is a multi-factor system, while short-term memory is a single system. Third, working memory is more important than short-term memory for many advanced brain functions and even almost all human cognitive work(Wang Jianhua, 2019). The disappear of short term memory is often due to the interruption.<br /> <br /> '''2.2.3 Long Term Memory'''<br /> <br /> Different from short term memory, long term memory is stored in human’s cerebral cortex where there is more room for storage. Long term memory is very important in keeping information for long time. It can keep information for more than one minute and even for a whole life. Its capacity is unlimited. All the information kept by long term memory has been selected and filtered.According to Tulving, long term memory is stored mainly as two types(Tulving, 1974). They are episodic memory and semantic memory. Episodic memory is about one’s experience of some specific situations. Semantic memory refers to knowledge such as words, concepts, rules and other abstract things.<br /> <br /> == Appreciation of Translation from the Stylistic Perspective - Use Walden as a Case Study 王轩 Wang Xuan==<br /> <br /> ='''Machine Translation'''=<br /> ==On the C-E Translation of Traditional Chinese Medicine Instructions from the Perspective of Adaptation Theory - A Case Study of Yulin Pharmaceutical Company==<br /> <br /> &lt;center&gt;陈永相 Chen Yongxiang&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> <br /> Traditional Chinese Medicine (hereinafter referred to as TCM), the precious property of Chinese medicine culture, boasts the favorable curative effect and a good reputation across the world. With the smooth development of “The Belt and Road Initiative” and national economy, TCM has been playing an increasingly significant role in international trade, attracting more attention of foreign medical experts and consumers. As the essential attachment of a medicine, medicine instructions belong to the genre of practical writing, characterized by the unique language structure and stylistic features, guiding doctors and patients to learn and understand the medicines, such as usage and dosage, actions and indications, contraindication, etc. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in international trade. Due to the inevitable differences in language and culture between English and Chinese, however, plenty of problems appear on the C-E translation of TCM instructions. <br /> <br /> According to Adaptation Theory proposed by the Belgian pragmatist Jef Verschueren, language use is a dynamic process of continuous choice-making and adaptation. Translation is a cross-cultural communication activity, which involves language usage and requires translators to make choices of words, translation strategies and so on between source language and target language, and to adapt with different contexts, mentalities, cultures, etc. so as to achieve the ideal goal, from which the Adaptation Theory can be applied exactly into the study of translation. This paper will apply Adaptation Theory, therefore, as the theoretical framework, to study the C-E translation of TCM instructions of Yulin Pharmaceutical Company. Employing the core concepts and investigating aspects of Adaptation Theory, the author tries to further discuss how to better translate TCM instructions. <br /> <br /> ==='''Key words'''===<br /> <br /> Traditional Chinese Medicine instruction translation, Adaptation Theory, Yulin Pharmaceutical Company <br /> <br /> ==='''摘要'''===<br /> <br /> 中药是我国医药文化的瑰宝，有着良好的疗效和口碑。随着“一带一路倡议”的稳步推进和中国经济的平稳发展，中药药品在国际贸易中所占比重日益增加，得到了国外许多医疗专家和消费者的关注。药品说明书作为药品的重要附件，是一种实用文体，有其自身的语言结构和文体特点，能够指导医生与患者了解和熟悉药品作用、用法用量、适应症和禁忌等。而中医药品说明书英译作为中医英译的一个重要组成部分，其英译质量决定了药品能否被医生和患者正确理解和使用，以及中医药产品的国际贸易繁荣。然而，由于英语和汉语之间存在着不可避免的语言和文化差异，中医药品说明书英译依然存在着较大问题。<br /> <br /> 比利时语用学家维索尔伦提出的语言顺应论认为，语言的使用是一个不断作出选择和顺应的动态过程。翻译作为一项跨文化交际活动，需要在源语与目的语之间，就用词、翻译策略等方面进行选择，对不同语境、心理、文化等层面作出顺应。可见顺应论适用于翻译研究。因此本文以顺应论作为理论依据，通过对广西玉林制药公司中医药品说明书英译进行分析研究，运用顺应论的核心概念和研究视角，进一步探讨如何更好地翻译中医药品说明书。<br /> <br /> ==='''关键词'''===<br /> <br /> 中医药品说明书翻译，顺应论，玉林制药公司<br /> <br /> <br /> ==='''1.Introduction'''===<br /> <br /> ===='''1.1 Research Background of the Study'''====<br /> <br /> As the precious property of Chinese medicine culture, TCM has been through a profound history in China. Since “The Belt and Road Initiative” proposed for the first time, as an indispensable part in medical industry, TCM has tapped the potential of development opportunity to boost its reform so as to better make inroads into the international market. Guangxi Yulin Pharmaceutical Company is a renowned TCM pharmacy enterprise mainly engaged in R&amp;D, production and sales of Chinese medicines, one of the China Top 50 TCM pharmacy enterprises, boasting 12 national protected TCM varieties. In 2015, Consun Pharmaceutical Group Lt. has successfully brought partial share of Yulin Pharmaceutical Company, which, in return, brought opportunities for the IPO and industrialization of the company. As the essential attachment of TCM medicine, the instructions guide doctors and patients to learn and understand the medicine correctly, which closely relates to consumer safety and are of great significance. The translation of TCM instructions is a significant part of TCM translation, the quality of which determines whether the Chinese medicines could be understood and used properly by doctors and patients, as well as the prosperity of TCM in international trade. The high quality translation versions of TCM instructions will accelerate TCM to enter into the international market, to occupy more competitive market share, and to better popularize the excellent TCM culture. <br /> <br /> ===='''1.2 Significance and Purpose of the Study'''==== <br /> <br /> It is noticed that studies and researches on TCM at home and abroad have boomed since the ancient Silk Road period. Regarding the translation of TCM instructions, however, little attention has been drawn from experts. Because of the inevitable differences in language and culture between English and Chinese, a lot of problems appear on the translation of TCM instructions. And against such a backdrop, there are still no settled rules or translation standards to be applied and favored in the translation of TCM instructions, hence it’s quite essential to touch upon the area of C-E translation of TCM instructions in a more comprehensive and systematic way so as to find out more effective methods and strategies for the instruction translation. Adaptation Theory is proposed by Jef Verschueren, he thinks that language use is a dynamic process of continuous choice-making and adaptation. As a cross-cultural communication activity, translation is a type of language use and requires translators to make choices of words, translation strategies and so forth between source language and target language. A good translation version of TCM instructions can appropriately guide both doctors and patients to understand the pharmacological functions, usage and dosage, actions and indications and contraindications of medicines. Therefore, the quality of instruction translation has a direct impact on whether TCM can be favored and obtained a good reputation among overseas medical industry and consumers. This paper studies the C-E translation of TCM instructions of Yulin Pharmaceutical Company under the guidance of Adaptation Theory, trying to take the Company as a case study to further discuss how to translate TCM instructions in a better way. <br /> <br /> ==='''2.Literature Review'''===<br /> <br /> ===='''2.1 Features of TCM Instructions'''====<br /> <br /> Being the essential attachment of a medicine, the instruction contains important information that explains what the medicine is, how to take it and the effects after taking it, guiding doctors and patients to understand and use medicines properly. It closely relates to consumers’ safety. Thus, TCM instructions must be objective, accurate and concise. However, the information covered in most TCM instructions is drug name, ingredients, actions and indications, usage and dosage, while adverse effects, precautions, pharmacological effects, drug interaction, contraindications etc. are quite simple, even without any description of these items, failing to meet the requirement of international standards. <br /> <br /> Besides, due to the profound history of TCM developed in China, most of the unique TCM languages derived from the abstract philosophical concepts of ancient times remain being used until now, say, classical style and semi-classical style, which are accepted and favored by the TCM community, causing difficulties in translating them into English. And hence four-character structure, vagueness and ambiguity of the language, and no equivalence between Chinese and English are the main features of TCM instructions. <br /> <br /> The four-character structure is concise but comprehensive in meaning, implying the extensive and abstract medical concepts of TCM. The tradition of using it to describe the symptoms and ways of treatment in TCM hasn’t been changed over time but continued to be applied and advocated in modern society. The TCM instructions are difficult to understand and translate, for the peculiar traits of TCM language, as well as the technical terms coming, directly or indirectly, from the abstract medical concepts of TCM, characterized by the unique treatment method as a whole in human body, and seeking to find answers and balance principles in nature to explain the causes and treatments of diseases, which is usually not the literal one but beyond cognition. In addition, there are gaps and non-equivalence between TCM and Western Medicine. Most TCM instruction translations apply technical terms from Latin in terms of ingredients, but adopt simple words and phrases for describing actions and indications, since the TCM language with Chinese characteristics finds no match in English. Ordinary people, as well as translators, who do not have the professional knowledge may have great difficulty in understanding and translating them. <br /> <br /> ===='''2.2 Studies of TCM Instruction Translation'''====<br /> <br /> Traditional Chinese Medicine wasn’t legal once in the United States until 1975, as many scholars and experts were skeptical about its medical theory and way of treatment. Since the establishment of China, the government has been devoting great efforts to the recognition and popularization of TCM across the world. And from then on, a lot of studies and researches based on the translation of TCM have been published at home and abroad. Regarding the translation of TCM instructions, however, little attention has been drawn from the experts. In view of the special wording and the abstract theory of TCM, the translation of TCM instructions is of great difficulty and complexity. <br /> <br /> Currently, the translation of TCM instructions on the market, to a large extent, lacks readability and translation standards. Against such a backdrop, some scholars have striven to make some breakthroughs yet. Nigel Wiseman (2000) systematically elaborates the concept of “oriented by the source” in his dissertation, Translation of Chinese Medicine Terms: A Source Oriented Approach, in terms of the translation of TCM language, believing that the translation of TCM, as well as the instructions, should respect the original style and keep it in the target text as much as possible. In 2002, Translation of TCM Directions (《中医药说明书的英译》) written by Ouyang Lifeng (2002) put forward some practical methods for the translation of TCM instructions. He advocates “naturalization” and “readjustment”, namely, adaptation strategy, should be applied in translation, and if necessary, some additions and deletions are acceptable on the basis of faithfulness to the original text. Guided by Professor Ouyang, his student, Xiaoqiong, applies Peter Newmark’s Communicative Approach in her master’s thesis, On the Translation of TCM Booklets of Direction-The Communicative Approach (2008) to study the features of TCM instructions, suggesting that different approaches should be adopted regarding to different parts of the instructions. On translation Strategies of Chinese Medicine Instruction from the Perspective of Functionalist Approaches written by Luo Haiyan (2009) conducts a relatively profound research under the guidance of Functionalist Approach in terms of each part of TCM instructions. She finds out the translation of TCM instructions is not very identical and comprehensible. Cao Qing’s thesis, A Study on Translation of Chinese Pharmaceutical Instruction (2011) states the common problems of translation instructions and advises three translation methods, namely literal translation, conversion and free translation under the Skopos Theory. There are still other scholars aiming at one aspect or another to further study the translation of TCM instructions, all of which exert a significant impact for references in translating TCM instructions. From the perspectives of Zhang Mengjing (1995), Ning Zhishou and Liu Cuiwei (1997), and Fu Wei (2006), the current TCM instruction translation lacks faithfulness, readability and incompatibility with conventional norms, suggesting that more attention should be paid in this field. <br /> <br /> Conclusion can be drawn from the above literature that studies on TCM instruction translation can be conducted from a wide scope. For the great distinction between western and Chinese culture, and the abstract medical principles of TCM, much has to be done to make the translation of TCM instructions more comprehensible and compatible with target cultures and consumers. <br /> <br /> ==='''3.Adaptation Theory Applied in Traditional Chinese Medicine Instruction Translation of Yulin Pharmaceutical Company'''===<br /> <br /> From what has been mentioned above, as the important attachment of TCM, the instructions provide the correct and detailed medical information to doctors and consumers, guiding them to take medicine scientifically and properly, and hence the medicine instructions must be objective, accurate and concise. As one of the China Top 50 TCM pharmacy enterprises, Guangxi Yulin Pharmaceutical Company is a famous brand in the whole country, boasting 12 national protected TCM varieties, and the buyout also boosts the process of IPO and reform. Through observation of the C-E translation instructions of TCM for foreigners and export, hence there are some certain instructive significance for the translation of TCM instructions. Because of the special characteristics of TCM instructions and the limited information included in the instructions of the company, this part tries to analyze the C-E translation instructions from the perspective of Adaptation Theory, mainly employing the contextual correlates of adaptability, structural objects of adaptability and dynamics of adaptability, to further discuss how to better translate TCM instructions. <br /> <br /> ===='''3.1 Contextual Correlates of Adaptability in TCM Instruction Translation'''====<br /> <br /> As introduced earlier, according to Verschueren, the ingredients of contextual correlates of adaptability largely include the physical world, social world, and mental world. However, the author will mainly concentrates on the adaptation to the mental world and social world due to the limited materials collected. <br /> <br /> ====='''3.1.1 Adaptation to the Mental World'''=====<br /> <br /> Regarding the mental world, it involves the personality, emotions, beliefs, cognitive levels, motivations, intentions and so on of both sides of language users. In the translation process, translators should take target readers’ mind into account, not just concentrating on personal mental world or literally translating the original text from one language to another language without any adaptation. <br /> <br /> Basically, consumers of drugs tend to rely on more renowned brands when facing a bunch of medicines displayed on the shelves. The key to attract their attention not only counts on the high quality of TCM, but also on the instructions with rigorous standards, concise specification and overall comprehensibility, delivering a sense of authority and credibility. <br /> <br /> To begin with, the name of drugs is the most direct information delivered to the consumers. Thus, a good name of the TCM can catch the eyes of buyers in the very beginning. “正骨水” is the most famous and important product of Yulin Pharmaceutical Company, however, the translation of its name in the instruction simply applies transliteration and Chinese Pinyin, namely, “Zheng Gu Shui” , which fails to adapt with the mental world of target readers. Apparently, Pinyin isn’t the way of expression that they are familiar with. Translators should consider their mental expectation and make adaptation with their familiar ways of expression. In that point, “Bone-setting Liquor” would be a better name for the medicine. “Bone-setting” means the medicine is effective for the symptoms of bone problems, and “liquor” implies the ingredients involved alcohol and other irritating ingredients so that consumers can be aware of the precautions and avoid using it on fragile mucous membranes and anabrotic wounds. Also, the same type of medicine can apply the same way of translation, such as, “金装正骨水” can be translated to “Golden Bone-setting Liquor”, and “极品正骨水” is rendered as “Superb Bone-setting Liquor”. Such a name conveys the correct medical information to consumers and better adapt to their thinking patterns. <br /> <br /> Another example is “睡安胶囊”, the translation version is “Shui’an Jiaonang” . Obviously, it will confuse foreigners since they don’t recognize Chinese Pinyin in their cognitive levels. Translators should at least use “capsule” to indicate the medicine is some type of capsules effective for the sleeping problems. A well-recognized name will arouse attention and interest among consumers, attracting them to purchase the medicine. In order to adapt with their mental expectation and intention, as Ouyang (2002) advocates, naturalization or domesticating translation can be applied in translation. “Sleep Mate” or “Insomnia Killer” can better attract their attention and adapt with their beliefs and cognitive levels. In English, “mate” is a common word, which will be more acceptable and natural in such combination, and “killer” combined with “insomnia” implies the meaning of solving the insomnia problems, which is also more suitable and adaptable with their emotions and motivations. <br /> <br /> A good name of the medicine can not only imply the function of the medicine, conveying the essential information to customers, but also can draw their attention and arouse their desires to purchase the medicine. Meeting the demand and preference with the mental world of target people is also one of the requirements of medicine instructions. Under the guidance of Adaptation Theory, if transliteration or simply adopting Chinese Pinyin to translate the names of medicines will confuse customers and cause misunderstanding, adaptation is required, and not just words, but also translation strategies should be taken consideration when making adaptation. <br /> <br /> ====='''3.1.2 Adaptation to the Social World'''=====<br /> <br /> Verschueren (2000:91) states that there is no principled limit to the range of social factors that linguistic choices are inter-adaptable with. Basically, social settings and culture play a significant role in the process of translation. What distinguishes TCM from Western Medicine mainly lies on the cultural differences. Language is the carrier of culture, and the cultural differences can be embodied in different languages, and then shown and reflected in society. Instruction translation, as the cross-cultural communication activity, is influenced largely by cultural differences in different social worlds. Followings are the very typical translation examples to illustrate the point:<br /> <br /> Example 1(感冒止咳露)<br /> <br /> Source Text (ST): 用于感冒或流感发热，头痛鼻塞, 伤风咳嗽，咽痛，肢痛<br /> <br /> Target Text (TT): Used for the treatment of cold, flu and fever, headache and nasal congestion, wind damage cough, angina and melalgia<br /> <br /> Revised Text (RT): Used for cold, flu, fever, headache, snuffle, cough, sore throat and pain in muscles<br /> <br /> Traditionally, “伤风” in Chinese means getting cold because of the invasion of “风” into the human body. “风” is actually one of the six exogenous pathogenic factors according to the medical theory of TCM, which cannot be explained from the perspective of Western Medicine. In western society, people have no concept that the natural phenomenon, say, “风” or “火”, will cause diseases in the human body. So the revised text deletes this term with TCM characteristics to avoid ambiguity and makes it more natural and understandable in English. In addition, most common patients who seek to buy medicines in pharmacies might not have the specific knowledge of medical field due to different social settings and backgrounds, thus, “angina” and “melalgia” might be beyond recognition and acceptance. Western world highlights the importance of brevity and conciseness in their society, and they place emphasis on simplification and efficiency, seldom using the very technical terms in their lives. Such social settings and cultural differences must be considered so as to make adaptation when translating. Besides, “nasal congestion” is the word-for-word translation and may cause misunderstanding among foreigners. So the revised text adopts “snuffle” and “sore throat” to indicate the meaning of “鼻塞” and “咽痛”, applying these simple words to make adaptation with cultural differences in different social worlds, and renders “melalgia” into “pain in muscles” to better deliver the meaning of “肢痛”. <br /> <br /> Example 2 (治咳枇杷露)<br /> <br /> ST: 治疗儿童伤风呃逆，咳嗽痰盛<br /> <br /> TT: Used for children’s wind-damage hiccup, cough and exuberant phlegm<br /> <br /> RT: Used for cold, hiccup, cough and sputum in children<br /> <br /> Similarly, example 2 also translates “ 伤风” into “ wind damage”, which is not appropriate in such description. As mentioned above, additions and deletions, if necessary, can be applied to make adaptation in translation. So the revised text deletes “wind damage” and “exuberant phlegm”, adopting noun coordination and making it more readable and adaptable to the social world of target readers. <br /> <br /> Literal translation of instructions is not always the first option in the C-E translation of instructions. For translators, the first thing they should consider is to be faithful to the original meaning of the text, not the text itself. They need to make adaptation to the target readers’ social world, for instance, social status, social settings, social background, cultural differences, etc., striving to make the translation concise and easy to understand in their society. Amid such different social worlds, translators must bear in mind to render localization of different cultures to make adaptation without causing ambiguity and misunderstanding while successfully keeping and delivering the implied meanings as much as possible.--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:26, 30 November 2020 (UTC)<br /> <br /> ===='''3.2 Structural Objects of Adaptability in TCM Instruction Translationn'''====<br /> ====='''3.2.1 Adaptation to the Lexical Level'''=====<br /> ====='''3.2.2 Summary'''=====<br /> ===='''3.3 Dynamics of Adaptability in TCM Instruction Translation'''====<br /> ==='''4.Conclusion'''===<br /> <br /> <br /> ==='''References'''===<br /> <br /> <br /> --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:41, 31 October 2020 (UTC)<br /> <br /> ==Will Machine Translation Replace Human Translation or not? 莫玲 Mo Ling==<br /> <br /> '''Abstract'''<br /> <br /> Science and technology constitute a primary productive force. In the contemporary era, with the continuous development of science and technology, artificial intelligence has shown more and more mighty strength, and machine translation has also been derived in the field of translation. In this regard, many people are beginning to worry that machine translation will one day replace human translation. When it comes to me, science and technology is people-oriented, and the continuous development of it aims at servimg mankind in a better standard. Therefore, it is not realistic to separate science and technology from humanities. The appropriate way to solve this dilemma is to integrate the two to achieve the perfectly qualitative change of &quot;1 + 1 &gt; 2&quot;. This paper will first analyze the cons and pros of human translation and machine translation, and then explore the development of computer-aided translation based on the combination of the two types above.<br /> <br /> '''Key Words'''<br /> <br /> Human Translation, Machine Translation, CAT, Compatibility<br /> <br /> '''摘要''' <br /> <br /> 科技是第一生产力。在当代，随着科学技术的不断发展，人工智能展现出越来越强大的实力，在翻译领域也相应地衍生出了机器翻译。对此许多人都开始担心机器翻译终有一天会取代人工翻译。在笔者看来，科技以人为本，科学技术的不断发展是为了更好的为人类服务。因而将科技与人文割裂开来的观点是并不现实的，最好的解决办法应是将二者结合起来，实现1+1大于2的完美质变。本文将分析人工翻译与机器翻译各自的优势和劣势，进而探讨二者相结合的后的计算机辅助翻译的发展。<br /> <br /> '''关键词'''<br /> <br /> 人工翻译，机器翻译，计算机辅助翻译，融合<br /> <br /> '''Introduction'''<br /> <br /> ==A Brief Analysis of the Chinese-English Public Sign Translation 袁天翼 Yuan Tianyi==<br /> <br /> 浅析汉语公示语的英译<br /> <br /> 英语笔译 袁天翼<br /> <br /> 摘 要：在这个经济全球化、政治多极化、文化全球化、科技现代化、信息共享化的时代，全球经济纵深发展，人类命运共同体日趋形成，人与人、国家与国家间的联系日益密切，这时，汉语公示语的英译问题便被提上了议程。尽管中国汉语公示语的英译翻译员越来越多，但是汉语公示语的英译问题层出不穷。本文简析了汉语公示语定义，例举了生活中常见的一些汉语公示语的英译典型问题，并针对此给出了一些翻译方法与策略，并进行了未来展望。<br /> <br /> 关键词：汉英翻译；公示语；翻译策略<br /> <br /> <br /> '''A Brief Analysis of the Chinese-English Public Sign Translation'''<br /> <br /> MTI Yuan Tianyi <br /> <br /> '''Abstract''': In this economic globalization, political polarization, cultural globalization, technological modernization and informative sharing age, the global economy is deeply developing, and the human community with a shared future is coming into shape day by day. The relations among people and among countries are increasing day by day. At this time, the problems of Chinese-English public sign translation become the topic of us. Though the number of Chinese-English public sign translators in China grows daily, the problems of Chinese-English public sign translation emerge endlessly. This passage offers a brief analysis of the definition of Chinese-English public sign, points out some typical problems in Chinese-English public sign translation we see in daily life, analyzes some methods and strategies of Chinese-English public sign translation, and gives some outlooks on the future of Chinese-English public sign translation. <br /> <br /> '''Key Words''': Chinese-English translation; public sign; translation strategies<br /> <br /> '''A Brief Analysis of the Chinese-English Public Sign Translation'''<br /> <br /> '''I. Introduction'''<br /> <br /> The public sign is a specially applied literary form that was formed in modern times, which has a long history. It is used in public places and seen by the masses thus realizing unique communicative purposes. The public sign has become a crucial link in the communication between China and other countries in the international community. In the meantime, there are increasingly more experts and scholars paying attention to the translation of Chinese public signs into English. (Reiss, 2004). <br /> <br /> As an important tool for international communication, Chinese-English public sign translation plays an extremely important role in foreign friends’ understanding of Chinese culture（Wang Huili, 2019）. Its applied range is so wide that nearly covers every aspect of our daily life, including: Introductions of tourism trips, propaganda languages, warning languages, road signs, shop signs and advertising boards. It is mostly used on public infrastructure: Subway, airport, taxi, pier, tourist spot, park, street, community, shop, supermarket, restaurant, bank, hotel, cinema, hospital and etc. It uses simple words or sentences, or pictures only, or combines words and pictures to pass useful information to the masses, which not only serves Chinese people, but also is shown to the foreigners, which can help foreigners in China study, work and live. <br /> <br /> '''II. The Current Situation of Chinese-English Public Sign'''<br /> <br /> Public signs are an art of convincing others through effective verbal means, which are also components of language activities. They, in essence, belong to a special kind of communication. However, it is not a kind of face-to-face communication that takes place in a specific period of time, and none of the participants will appear as individuals. The object is for all the people with social behaviors in the place, regardless of gender, age, class or education level. Public signs belong to “one-way communication”, and its binding force or influence will not be as big as direct communication, but it is also used to act with words and deeds, and affects the behavior of the audience with a clear purpose. <br /> <br /> Public signs are everywhere, so what are their functions? Zhou Shuxia (Zhou Shuxia, 2017) thinks that, their functions can be divided into showing, warning, profiting, encouraging and eulogizing such five functions. <br /> <br /> Firstly, the public sign that has showing function offers all-round information about service, order, or informing service. Such as “Car Rental” and “Children and Senior Citizens Free”.<br /> <br /> Secondly, the public sign that has warning function comes up with restrictive or obligatory demands to typical people, which is often used through order, ban, information or persuasion tones. Such as: “Stand in Line” , and “Thieves Beware”. <br /> <br /> Thirdly, the public sign that has profiting function promotes consumption, thus realizing enterprises’ economic profits. Such as: “Daily Special”, “Daily Service”. <br /> <br /> Fourthly, the public sign that has encouraging function calls for or encourages people to take actions for certain goals or tasks. Such as: “One Family, One Child”, and “Working together, we can make a world of difference”. <br /> <br /> Fifthly, the public sign that has eulogizing function gives wishes and chants to certain events or people to reach the goals of propaganda or education. Such as: “One World, One Dream”. <br /> <br /> Eugene Nida (Eugene Nida , 2004) said, Chinese-English translation of public signs embraces the conversion of two different languages and two different cultures, which is not only to achieve the language equivalence, cultural equivalence, but also to enhance the possibility of understanding and the reading of Chinese-English translation of public signs.<br /> <br /> Public signs are the translation with strong humanistic color (Wu Haoxi , 2019). <br /> <br /> However, there are many problems in Chinese-English public sign translation.<br /> <br /> In 2003, Clive W. J. Granger, a Nobel Economics Prize Winner talked of the settings and problems of public signs in Beijing when he was interviewed by a program of Beijing TV Station. He said: “Foreigners will feel a little bit nervous when they come to China, because they can not understand public signs in China. ” Clive’s comment extremely shows current problems in Chinese-English public sign translation (Lv Hefa, 2005). <br /> <br /> On June 20th, 2017, a national standard conference of the Standard for English Translation and Writing in the Field of Public Service was held in Beijing. The Vice Minister of the Education Ministry and Director of the National Language Commission stressed in the meeting: “The language and character industry of China is expanding from ‘striving to promote and normally use the national common language, scientifically protecting every nation’s language and character’ to ‘managing social foreign language use and improving foreign language service quality’. ” The national standard of the Standard for English Translation and Writing in the Field of Public Service is the standard of English translation and writing quality in public service fields, which stipulates the English translation principles, methods and requirements of transportation, tourism, culture, entertainment, physical exercise, education, medical health, postal service, telecommunication, catering, accommodation, commerce and finance these thirteen service fields. <br /> <br /> To sum up, there are still many major problems in China’s public sign translation, common and ubiquitous, which make foreign experts comment like that and the government use national force to normalize translation standards. Whether the translation of public signs in scenic spots into English is harmonious and unified has a great influence on cross-cultural communication (Pinkham John, 2000). <br /> <br /> '''III. The Causes of Chinese-English Public Sign Translation Mistakes'''<br /> <br /> '''3. 1 The Basic Linguistic Mistakes'''<br /> <br /> To be a proficient Chinese-English public sign translator, one must, fundamentally, grasp basic linguistic rules of English and Chinese, otherwise he or she must make stupid mistakes, and some even primary learners will not make. <br /> <br /> [[File:No.1.jpg|250px|thumb|left|No.1<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3684466622,1422277554&amp;fm=27&amp;gp=0.jpg] for original source.]]<br /> <br /> No.1 is a public sign put on a glass wall in a mall, the Chinese reads“全年无休(QUAN NIAN WU XIU)”, and it tries to use English to express that “This business runs the whole year”, so the precise translation should be “NO REST DAY ALL YEAR”. But there, we can see it was translated as“365DAY SA TEAR”, which does not belong to the grammatical law of English. So this is a big mistake. Only one who understands Chinese can understand. But for ordinary foreigners, they can not. So, when translating Chinese-English public sign, the translator must be clear about the target language, and know the basic grammatical venation, then begin to translate, instead of randomly putting some letters together and finishing. Otherwise, the translator will make a big mistake like this picture.<br /> <br /> A public sign in Haichang Ocean Park of Chengdu City, Sichuan Province reads &quot;Jellyfish Museum, the 2th floor&quot;. More specifically, it is a floor direction sign. Here, the correct English for the second floor should be “2nd”, not “2th”. Apparently that the translator has poor knowledge of English vocabulary, which led he or she to make such a ridiculous mistake. Actually, in English language, if there is a number contains “11”, “12”or “13”, its ordinal numeral should be written as “11th”, “12th” or “13th” respectively; And if there is a number contains“1”, “2”or “3”, its ordinal numeral should be written as “1st”, “2nd” or “3rd” respectively. For example, “101st”, “111th”, “201st”, “211th” and etc. <br /> <br /> No.3 is a warning sign of a tourist spot, reads &quot;The rockery danger, pleases no climb&quot;, whose Chinese meaning is “There stands a rockery, it is dangerous to climb, every one is forbidden from climbing it. ” The Chinese meaning is alright. But, when it was translated into English, a big mistake occurred: “The rockery danger Pleases no climb.”<br /> <br /> First, there should be “climbing” after “no”, not “climb”, this is just English grammar knowledge that can be learned in primary school; And the “Please” is followed by a “s”, why does the translator use third person singular at the top of a imperative sentence? Second, if the translator wants to tell the tourists that the rockery is dangerous and mustn’t be climbed, he or she should write: “The rockery is dangerous. Please don’t climb” or “Dangerous rockery. No climbing” or just “No climbing”. Unless the foreigners who see this sign have supreme understanding ability, they will not easily make sense of it. <br /> <br /> 3. 2 The Tendency Towards Chinglish and Mechanical Translation<br /> <br /> Knowing a little about English, then begin to translate public sign. This is ridiculous, which is definitely going to cause obvious mistakes. Especially when translating, there is a high probability that the translator will make Chinglish errors, or tend to seek for mechanical translation, which are the most common public sign translation problems in mainland China. With regard to the tendency towards Chinglish, it only proves that the translator’s basic skills of English are not so proficient, and he or she does not fit for translation work. For the tendency towards mechanical translation, on the one hand, it demonstrates that the translator is lazy, who is not willing to think about how to translate. On the other hand, it reveals his or her lack of basic English language knowledge. In fact, these two both can be easily avoided, only if the translator pays a little more attention to it or is earnest and dedicated to their work. All those mistakes should not have been made. <br /> <br /> No.4, this is a sign that is hung in an Internet celebrity milk tea shop: Sexytea of Changsha City, Hunan Province. It reads &quot;out of the cup area&quot;. It originally means that the customers should queue here to get their milk tea after finishing paying. The translator should have easily translated “出杯区（CHU BEI QU）”into “FETCH AREA”, but it was translated as “OUT OF THE CUP AREA”, what a joke! Purely it was translated word-for-word. The translator did not understand its true meaning. Probably it was translated by a machine. As an Internet celebrity milk tea shop runner, when dealing with such kind of cultural issues, he or she should be extremely careful, earnest and cautious, instead of casually simply copying the contents given by a machine or hiring a third-rate translator and asking him or her to randomly translate. Large scale milk tea shops must shoulder their required obligations, and undertake necessary responsibilities and duties on public sign translation. Imagine that a foreigner, who can not understand it, stand there and think: What? Standing here is standing outside the cup? Maybe something interesting would happen. Let me try!<br /> All those will bring big and standing jokes. <br /> <br /> No.5 is a public sign in Mount Emei of Emei City, Sichuan Province. It reads&quot; tourists get off area&quot;. Its Chinese meaning is: This is the place that tourists get off from a bus. But, it was translated as “Tourists get off area”, which fully shows the ignorance and lack of English language knowledge of the translators. People may can not help doubting whether it is copied from the translation given by a machine. Famous tourist spots like this, especially this kind of 5A tourist spot, can not even shoulder the cultural obligations, let alone developing in the long run. They should make big mistakes in such a little public sign translation! Do they only want to serve Chinese well while ignoring foreigners?<br /> <br /> Similarly, No.6 is a public sign in Mount Emei of Emei City, Sichuan Province, and it reads &quot;up the mountain&quot;. The Chinese meaning is “This is the passage that leads tourists to climb the mountain”. The translation should have been a very easy and fun job, but when the sign is showed to tourists, a big big joke was born: “Up the mountain”. We can say “uphill way” or “uphill passage”, but, the translator obviously did not realize it. What’s more, when “up” is used as a verb, it is completely another meaning. It is also the symbol of such irresponsible spot management. <br /> <br /> No.7, it is a napkin given by an Internet celebrity milk tea shop (Sexytea of Changsha City, Hunan Province ) for free after buying its milk tea. It reads &quot;more China, more fashion&quot;. At first glance, everything seems okay. But more carefully, we can find the mistake. The Chinese meaning is “If there are more elements with Chinese characteristics, it will be more fashionable.” But when translating, maybe with the aid of machine, or lack of a solid English knowledge foundation, it becomes “More China, more fashion”. If the customer is a Chinese, it does not matter, for he or she can understand it, and just shows a smile. But if foreigners see, they will be pretty shocked by the sight: What the hell is this? They will think that this shop lacks money to hire a good translator, and the managers are stupid. Furthermore, the Chinese national image will be badly affected. In fact, this sentence can be translated as “The more sinicization there is, the more fashion there will be” or “With greater Chinese characteristics come more fashion”. Easier? It can be “More sinicization breeds more fashion”. Translated like these, won’t it be much more correct and intelligible?<br /> <br /> '''3. 3 The Misunderstanding of the Public Sign Translators'''<br /> <br /> It is the little knowledge of English of the translators that makes them can not even spell a basic word correctly; Or due to carelessness, they make mistakes on public sign translation, thus causing mistakes on the meaning of the sign. All these are significant reasons why there are so many mistakes in Chinese-English public signs. <br /> <br /> [[File:No.8.jpg|250px|thumb|left|No.8<br /> [https://www.sinaimg.cn/edu/cr/2015/0316/3124267229.jpg] for original source.]]<br /> <br /> No.8. The Chinese meaning of it is “The door or passage that leads you to the outside”, in short, “EXIT”. But the public sign was translated as“EXPORT”, so, what is “EXPORT”? In a word, it means trade among different countries. The commercial goods pass through the customs, being transported from one country to another country. Distinctly, the maker was careless, who has mixed the meaning of “出口（Chu Kou）”in Chinese, thus resulting in an obvious translation error. As for public sign translation, translators must weigh every word, and think over and over and over again, not just search online, and grab all the words you “discover”, which is a highly irresponsible behavior, an extremely irresponsible behavior to the society and the country . <br /> <br /> [[File:No.9.jpg|250px|thumb|left|No.9<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=4069547043,45136776&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.9 is from a hospital department. Its Chinese meaning is: Here is neurology emergency department. It uses a special logogram in Chinese. But, the maker was misled, so, he or she translated it as “God Medical”. If a person has a little common sense, he or she will be made to laugh wildly. It is completely the “Understanding of a sentence simply by a word”! That should be translated as “ Department of Emergency Neurology”. Such a casual translation will make Christians think that they can see God for real. Whether can he see death here or a way to heaven with a passionate God serving you? To some extent, this is disrespect for Christians, which can even cause disputes. <br /> <br /> <br /> [[File:No.10.jpg|250px|thumb|left|No.10<br /> [https://ss0.baidu.com/6ON1bjeh1BF3odCf/it/u=4055489075,1169617432&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.10 is photographed in a company building. Here, the Chinese means: this is the place where you can get boiled water. However, the translator of this public <br /> sign made a huge mistake, because he or she disintegrated the three Chinese words one by one, and thus translating them one by one, which can not be understood as a whole, let alone enable foreigners to understand the meaning of this public sign, and as a result, foreigners may not receive the service that they deserve. What’s worse, many people, including intelligent Chinese, when seeing this disqualified translation, will definitely be amused, and feel funny: What is this guy’s literate level?<br /> <br /> As a matter of fact, this public sign can be translated as “Boiled Water Room”. “开水”means “boiled water” in English. Certainly, the translator treated the “开”as a verb “open”, which is absolutely wrong. <br /> <br /> Further, this is a single room, not two or more, so we must use “room”, which is the plural form, instead of the singular form “rooms”. <br /> <br /> 3. 4 The Falsification and Loss of Information<br /> <br /> Originally, the managers want to use signs to warn people, but due to mistranslation, the information is tampered and missed, resulting in an opposite consequence, and producing big jokes. <br /> <br /> No.11 is a public warning sign in Liuxiang Barbecue Restaurant. It reads &quot; carefully hot&quot;. Is it a true warning? In the foreigners’ opinion, it is not. People who speak Chinese can realize that this sign was designed to warn customers not to be burned by the hot oven. However, the English translation is far from what it originally means. The correct translation can be “Careful! Hot!” or “Be Careful of the Hot Oven!” But according to the translation on the sign, it means “Carefully burn yourself”. Luckily, this is a small scale restaurant, if it were a large one, its reputation would be badly affected. <br /> <br /> <br /> [[File:No.12.jpg|250px|thumb|left|No.12<br /> [https://ss1.baidu.com/6ON1bjeh1BF3odCf/it/u=3765137851,1011242048&amp;fm=27&amp;gp=0.jpg] for original source.]]<br /> <br /> No.12 is a public sign in a large shopping center. As we all know, modern shopping centers now always use smooth and shiny tile floor as the ground, which makes the shopping centers look beautiful and attractive. However, smooth though it is, one big safety problem then comes into shape: The ground is too smooth to make shoppers slide and fall. Later, the managers made public signs like No.12 to warn people not to fall. The Chinese warning is okay, Chinese shoppers can understand, but when foreigners see this, he or she will burst out laughing: What? You order me to slide on the floor with care? What on earth do you mean? I have even seen an Internet celebrity girl posting an video clip that tells us a story that satirizes this mistranslation: The girl and her father slide joyfully on the ground in a shopping center while murmuring “Carefully slide! Carefully slide!” As a matter of fact, The correct Chinese-English translation should be “Caution! Slippery!” or “Beware of Wet Floor” or “Caution! Wet Floor”. Each one of the three is okay. <br /> <br /> [[File:No.13.jpg|250px|thumb|left|No.13<br /> [https://ss2.baidu.com/6ON1bjeh1BF3odCf/it/u=461657809,3986868053&amp;fm=15&amp;gp=0.jpg] for original source.]]<br /> <br /> No.13 is a public sign that is put on the ceiling of a restaurant’s stair. Here, the translator wanted to pass such information by Chinese and English: Watch <br /> your head, do not hit the low ceiling of the stair. Be careful. Though the Chinese information is okay, the English, however, can not by understood by others, especially foreigners. <br /> <br /> Here, the makers wanted to warn the danger of the low ceiling, not to ask people to purposely hit the ceiling. So we can correct it as: “Watch Your Head”, or “Be Careful”. Both are okay. <br /> <br /> Here, the translator made a mistranslation, which reversed the original meaning when translating, thus producing a huge laughingstock. First, “碰”is not “meet”, but “hit”, according to this specific environment. It does not mean “meet someone”. Second, “小心碰头” means not to hit the ceiling, not to “meet carefully”. <br /> <br /> Throughout so many examples, every one can see that the mistakes of public sign translation are ubiquitous and common in daily life, which you can even randomly pick up one from any store you meet. Pervasive errors like these in public signs will negatively affect China’s reform and opening-up and the integration into international community, which will not only make foreigners misunderstand the meaning, but also seriously damage China’s national image. Therefore, the study of the public sign translation is extremely urgent and imperative. At present, translators must start from basic demand of Chinese-English public sign translation, endeavor to learn English well, cultivate a good sense of utilizing English and a great mindset of English utilization, proactively take part in English translation practice, and be highly alert and form a sense of “Using English language in a proper, correct, suitable and decent way”. Only then will the situation of Chinese-English public sign translation turn better. <br /> <br /> IV. Public Sign Translation Methods<br /> <br /> There is a saying goes: “Nothing can be accomplished without norms or standards. ” So is the Chinese-English public sign translation. Zhang Yan (Zhang Yan, 2015) maintains in her paper that, the public sign translation methods can be summarized as four kinds. <br /> <br /> '''4. 1 Amplification'''<br /> <br /> Many new words that are with Chinese characteristics, especially combined with numbers, need using amplification to introduce to foreign readers. For example, in the past, “五讲四美三热爱(Wu Jiang Si Mei San Re Ai）”was translated as “Five Stresses, Four Beauties and Three Loves”. Many foreigners said that they could not understand it. Later, it was revised as “Five Stresses, Four Beauties and Three Loves” with the notation “ stress on decorum, manners, hygiene, discipline and morals; beauty of the mind, language, behavior and the environment; love of the motherland, socialism and the Communist Party”. Hence, foreigners can easily understand its connotation. <br /> <br /> '''4. 2 Ellipsis'''<br /> To make sure that the translation is concise and intelligible, when doing Chinese-English translation, translators must properly delete unnecessary words according to English expressing habits to achieve overall generalization. Such as: “Food Paradise”. <br /> <br /> '''4. 3 Re-translation'''<br /> Due to cultural differences, many folk adages with Chinese characteristics will not be understood by readers once simply read literally. So translators can moderately reorganize those sentences that can not be translated or understood. Such as: “Drinking and Driving Costs Your Life”. <br /> <br /> '''4. 4 Backward Translation'''<br /> <br /> There are two cases: Translating the cultural expressions that are borrowed from translation back into their original forms in the target language; Translating the expressions with obvious cultural characteristics into the idiomatic expressions in the target language. Such as: “Venus Florist”. <br /> The English public sign has its own cultural and pragmatic meanings. When doing the Chinese-English public sign translation, translators should consider about the cultural differences and avoid any form of ambiguity, misunderstanding or mistranslation, and offer high quality information service, thus making public sign translation advance with the times. <br /> <br /> V. Public Sign Translation Strategies<br /> <br /> He Xueyun (He Xueyun, 2006) holds in her thesis that, theoretically, semantic translation and communicative translation differ much. Semantic translation strives to keep the language specialty and unique express method of the original work, in order to express the original work’s thinking process; However, communicative translation’s key point lies in spreading information and enabling people to think, feel and act, giving play to the function of information that language conveys and the consequences it causes. Public sign translation must focus on results, and put readers first, only by this can we improve the current situation of public sign translation, thus achieving the purposes of public sign translation. <br /> <br /> Before beginning to do anything, we all need a world view and methodology to guide us to behave well. Likewise, when doing Chinese-English public sign translation, we also need guiding ideology to direct us. Here, I will show you four Chinese-English public sign translation strategies, which act as guiding ideology, which are definitely going to be a powerful weapon for you. Just remember them and practice them, you will gain a lot. <br /> <br /> '''5.1 No Grammatical, Semantic and Logical Error'''<br /> <br /> The most basic prerequisite of public sign translation is that there is no language error: No grammatical error, no vocabulary spelling error, no language context error, no Chinglish or machine-aided translation error. <br /> <br /> “This is office area, tourists mustn’t enter” can be translated as “Staff Only”, not “OFFICE AREA PLEASE DON’T COMING”, or you will make a grammatical and redundant error. “Be careful, don’t slip into water” can be translated as “Caution! Deep Water!” instead of “TAKE CARE! FALL INTO WATER CAREFULLY!” Otherwise, people will can not help laughing. <br /> <br /> One translator was not able to translate “The grass is so beautiful, are you sure you wan to walk on it?” into English public sign, so here comes <br /> “Fangcaoqiqi riding the Heren”. What a laughingstock! This is a combination between Chinese and English, without any grammar structure. Not to translate it will be a much better choice. We can concisely translate it as “Don’t Walk on the Beautiful Grass!”<br /> <br /> '''5. 2 Concise and Intelligible Translation'''<br /> <br /> One prominent character of public sign is conciseness. It asks people to ensure the translation is crystal clear and precise, without any compound or obscure sentence. Only by achieving this can the signs become popularized, instead of making people think over and over and over again to discover their cryptic meaning. <br /> <br /> The public sign translation must be concise and intelligible, which means that you not only need to precisely convey what the maker means to people, but also must be concise. People can understand it immediately without comprehension deviation or ambiguity. <br /> <br /> '''5. 3 Understanding of Cultural Background Differences'''<br /> <br /> When translating, every translator must thoroughly understand the culture of the targeted language. Translators must comprehensively understand each specific use of the targeted language under different cultural backgrounds. If not doing so, it may cause severe disputes, and even cause irresistible outcomes. Here are several examples. <br /> <br /> “Dragon” is a legendary animal in traditional Chinese culture. Chinese people often view themselves as “dragon”, and even say that they are “Descendants of the Dragon”. Thus, “Dragon” means holy and sacred thing in Chinese culture. But in English speaking countries, the meaning of “dragon” is not so. In these countries, “dragon” means something evil like Satan, sometimes it is even used to describe thugs, scoundrels or other bad behaviorists. Therefore, invariably coping the icon of “dragon” and using it in other cultures is a definite mistake. In a word, a public sign language translator must totally comprehend the cultural background differences. <br /> <br /> '''5. 4 Obedience to Certain Norms and Standards'''<br /> <br /> As long as someone is translating, he or she must obey certain rules, norms and standards. He mustn’t translate according to his will. This is a truth. <br /> For example, according to China’s first set of standards on how to regulate the use of foreign languages in China, which was jointly issued by the State Standards Commission and the General Administration of Quality Supervision, Inspection and Quarantine on November 20, 2017 and officially implemented on December 1, 2017, some of the standards have been specified in detail. <br /> <br /> Names of tourist spots: Names of mountains, rivers and lakes should be written in Chinese pinyin. Translations of names of temples should vary according to different situations, so are the towers’ names. In line with external service needs, English explanations can be added. <br /> <br /> '''VI. The Future of Chinese-English Public Sign Translation'''<br /> <br /> China is a major powerful country, and is the country with the second highest Gross Domestic Product in the world, which is why China should keep close economic and cultural relationships with other countries. In order to integrate China with international community in a better way, there must be high quality public sign translation. <br /> <br /> High quality public sign translation must improve the China’s influence power in international community. High quality public sign translation represents that China is rich in translators and intellects, and shows that China can fulfill obligations and shoulder responsibilities as a major country. Achieving this means China not only takes responsibilities for Chinese people, but also for all human beings. Good quality public sign translation is definitely going to significantly synergize the course of reform and opening-up. <br /> <br /> High quality public sign translation is obliged to facilitate foreigners to travel in China, boost domestic consumption demand, form a new growth point for economy, promote the rise of Gross Domestic Product, and accelerate the comprehensive, coordinated and sustainable development. High quality public sign translation is also an integral part of the New Development Philosophy: Innovation, coordination, green, open and share. High quality public sign translation corresponds to the New Normal of Chinese economy. At present, the economy of China has been changing from developing at a high speed to develop at high quality, and is at the stage of changing economic development mode, transforming driving forces of economic development and optimizing the economic structure, so high quality public sign translation is badly needed. Thus, considering the big change of Chinese economy, achieving high quality public sign translation is an urgent affair. <br /> <br /> High quality public sign translation has the duty to embody a city’s humanism spirit, cultural speciality and charm, which is the inevitable requirement of core socialist values and system. It also promotes the spreading of Chinese culture, and improves the influence power of Chinese culture. High quality public sign translation also levels up Chinese people and overseas Chinese’s sense of identity and belonging. What’s more, it can narrow the gap between Chinese and foreigners, and acquire more recognition from them towards China. Domestically, high quality public sign translation can strengthen national cohesion; Externally, it will strengthen China’s soft power, and increase China’s international speaking right while creating national radiation power. <br /> It is an important measure to improve China’s public service and governance capability by establishing an evaluation mechanism and promoting the standardization of English translation. It is of great benefit to further improve China’s service level of opening to the outside world, demonstrate its cultural soft power and enhance its international image (Guo Jinghong, 2019). <br /> <br /> In short, looking forward to the future of Chinese-English public sign translation from a strategic perspective, translators must remain true to their original aspiration and keep their mission firmly in mind, which is: To be devoted to the future of socialism with Chinese characteristics, to be dedicated to the landscape of translation of socialism with Chinese characteristics, and to be committed to the sustainable development of Chinese-English public sign translation of socialism with Chinese characteristics. <br /> <br /> We must treat Chinese-English public sign translation with the point that advances with the times (Tian Guomin, 2019). The English translation of public signs of tourist attractions belongs to the category of cross-cultural communication, and the translator should have certain cross-cultural knowledge and awareness, so that the English translation can be more understood and accepted by the audience and truly achieve the purpose of cross-cultural communication (Yang Hongyu, 2019). The communicative translation theory aims for the target readers (Gutt, 1991). Translation of public signs is a very important task in China with the increasing connection to the outside world (Newmark, 2001). Since reform and opening-up, China has been integrating into the international community day by day. To fully achieve this, as regards of Chinese-English public sign translation, we still have a long way to go. There is no time for us to delay the work of strengthening, proceeding, and improving public sign translation. The rising level of quality of Chinese-English public sign translation will improve both city image and urbanization level. He Xueyun contends in her article that, many people take it for granted that if one knows a foreign language, he then can translate. As a matter of fact, basic skills of public sign translation not only includes foreign language level, but also the knowledge of foreign cultures. <br /> <br /> '''VII. Conclusion'''<br /> <br /> So, how to facilitate the overall development of Chinese-English public sign translation？Firstly, we need to keep pace with the times. Language is constantly changing, so are many words and idioms, and so are public signs. In order to accurately convey information to the audience, it is essential to integrate the latest, most reliable and most accepted language into public signs. Secondly, it is necessary to fully understand the idiomatic usage of public signs, because public signs are mainly aimed at English speakers, so it is necessary to strengthen the accumulation of words, phrases and idioms, which is also the basis of translation. Thirdly, the translators of Chinese-English public signs should use accurate words and phrases in combination with specific environment and objects, and should not fail to convey the meaning or deviate from the original meaning, which otherwise will result in misunderstanding. Of course, only achieving the above is not enough. In order to do a good job in the translation of Chinese-English public signs, we need to keep improving our translation attitude and spirit of study, and constantly improve and summarize and innovate on the basis of the original, so as to make the translation of Chinese-English public signs more perfect and recognized by the international audience. It is very important for the academic community and people from all walks of life to analyze the problems in the application of public signs and put forward corresponding improvement countermeasures (Liu Xiaoping, 2019). <br /> <br /> A Chinese-English public sign translator must fully realize and shoulder the responsibilities that translators must carry, form a sense of community of a shared future, fully acknowledge the current situation of Chinese-English public sign translation, completely learn lessons from the predecessors who have made mistakes in Chinese-English public sign translation, totally implement the four public sign translation strategies I mentioned before, to make Chinese-English public sign translation serve the construction of a moderately prosperous society in all respect, the construction of modern powerful socialist country, the construction of building China into a great modern socialist country that is prosperous, strong, democratic, culturally advanced, harmonious, and beautiful, and the realization of the great Chinese dream, that is: the great rejuvenation of the Chinese nation. <br /> <br /> <br /> Bibliography<br /> <br /> [1]Eugene Nida &amp; Charles Taber. The Theory and Practice of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [2]Gutt &amp; Ernst, Agust. Translation and Relevance: Cognition and Context [M]. Shanghai: Shanghai Foreign Language Education Press. 1991.<br /> <br /> [3]Newmark, Peter. Textbook of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> <br /> [4]Pinkham, John. The Translator’s Guide to Chinglish [M]. Beijing: Foreign Language Teaching and Research Press, 2000.<br /> <br /> [5]Reiss. Translation Criticism: the Potentials and Limitations [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> <br /> [6]国家标准委. 公共服务领域英文译写规范[S].2017.<br /> <br /> [7]郭京红. 公示语英译中的错误观点与评价方式[J]. 海外英语, 2019,(23):154-155. <br /> <br /> [8]贺学耘. 汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006,(03):57-59. <br /> <br /> [9]刘小平. 公示语翻译中存在的问题及对策[J]. 凯里学院学报, 2019, (04):72-74.<br /> <br /> [10]吕和发. 公示语汉英翻译研究——以2012年奥运会主办城市伦敦为例[J]. 北京:中国翻译, 2005,(06):38. <br /> <br /> [11]田国民. 谈汉语公示语的英译[J]. 英语教师, 2019, (22):110-113. <br /> <br /> [12]王回力. 汉英公示语翻译的现状及其交际翻译策略[J]. 延边教育学院学报, 2019, (05):31-33. <br /> <br /> [13]吴浩熙, 李海红. 功能对等理论下的公示语翻译及策略[J]. 海外英语, 2019,(20):59-61. <br /> <br /> [14]杨洪玉等. 旅游景点公共标识语的英文翻译[J]. 北京工业职业技术学院学报, 2019, (04):122-126. <br /> <br /> [15]张焱. 汉英翻译过程中的难译现象处理[M]. 北京:中国社会科学出版社, 2015,(16):44-46<br /> <br /> [16]周树霞. 浅析公示语的汉英翻译[J]. 校园英语, 2017,(42):239-239.<br /> <br /> == Research on the Features of Machine Translation and Its Relationship with Human Translation 欧阳静兰 OuYang Jinglan==<br /> <br /> ='''Foreignization and Domestication'''=<br /> <br /> <br /> ==Domestication and Foreignization in Translation: Functionalist Approaches Explained 汤蓓 Tang Bei==<br /> <br /> ===Abstract===<br /> ===摘要===<br /> ===Introduction===<br /> ====Definition of Domestication and Foreignization====<br /> ====Functions of Domestication and Foreignization====<br /> ===A Brief Introduction to Functionalist Approaches===<br /> ====Skopos Theory====<br /> ====Theory of Translational Action====<br /> ====Text Typology====<br /> ===Account for the Choice of Domestication and Foreignization with the Notion of Functionalist Approaches===<br /> ====From the Viewpoint of Skopoos Theory====<br /> ====From the Viewpoint of Translational Action====<br /> ====From the Viewpoint of Text Typology====<br /> ===Conclusion===<br /> <br /> ==The Application of Domestication and Foreignization in Howard Goldblatt’s Translation of Mo Yan’s Works 欧蓉 Ou Rong==<br />  <br /> 摘要：一直以来，中国文学的独特风格在世界文学中备受瞩目，在流向海外的过程中，翻译成为了跨文化沟通的桥梁与传播的媒介。莫言是中国著名代表作家，2012年获得诺贝尔文学奖，外国对其作品的翻译研究从未断过。葛浩文是美国著名中国当代文学翻译家，莫言所有作品的英译本都来自于他。本文旨在通过分析葛浩文在翻译莫言作品过程中体现的归化和异化，从而指出其过人之处，从而思考中国文学作品被英译时应注意的事项，加强与提高不同文化之间交流的理解度与流畅度。<br />  <br /> <br /> 关键词：归化；异化；葛浩文；莫言的作品<br />  <br /> <br /> Abstract: For a long time, owing to the unique style, Chinese literature has attracted much attention among world literature. In the process of flowing overseas, translation has become a bridge of cross-cultural communication and a medium of transmission. Mo Yan is a well-known representative Chinese writer, who won the Nobel Prize in Literature in 2012. The study on his works about translation abroad has never stopped. Howard Goldblatt is a famous American  translator specializing in contemporary Chinese literature, and all English versions of Mo Yan's works are from him. Through analyzing the domestication and foreignization that reflects in the translated version of Mo Yan's works by Howard Goldblatt, the thesis aims to point out the extraordinary of this application and consider the matters that should be paid attention to when translating Chinese literary works into English to strengthen the understanding and improve the fluency of the exchange between different cultures.<br />  <br /> <br /> Key words: Domestication; Foreignization; Howard Goldblatt; Mo Yan’s works<br />  <br /> <br /> 1.Introduction<br /> <br /> 2. Domestication and Foreignization<br /> <br /> 2.1. The Definition of Domestication<br /> <br /> 2.2 The Definition of Foreignization<br /> <br /> 3. Howard Goldblatt’s Translation Strategies on Chinese Literary Works<br /> <br /> 4. The Embodiment of Domestication and Foreignization in Mo Yan’s works<br /> <br /> 5. The Enlightenment under the Application for Translation<br /> <br /> 6.Conclusion<br /> <br /> Bibliography--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 15:39, 6 November 2020 (UTC)Ou Rong<br /> <br /> ==Domestication and Foreignization in the Course of Translation Under the Direction of Skopostheorie 谭星越 Tan Xingyue==<br /> <br /> ==Study of domestication and foreignization in cross cultural translation 周罗平 Zhou Luoping==<br /> <br /> ==='''Abstract'''===<br /> Language is the carrier of culture and the medium of communication between cultures. Language and culture are closely connected. Nowadays, cultural exchanges are becoming increasingly frequent; hence, it’s particularly important to use translation to convey information between different cultures. Translation is a process not only about transforming one language into another, but also about noticing the history and cultural tradition behind languages. Therefore, in cross-cultural translation, translators should master two methods to deal with culture: domestication and foreignization. This article will introduce the two translation strategies of domestication and foreignization and explore how to reasonably use them in cross-cultural translation.<br /> <br /> ==='''Key words'''===<br /> Domestication Foreignization Cross-cultural Translation <br /> <br /> ==='''摘要'''===<br /> 语言是文化的载体，是文化间传播和交流的媒介。语言和文化之间密不可分。在文化交流日益频繁的今天，用翻译去传递不同文化之间的信息就显得格外重要。翻译不仅仅是将一种语言转化为另一种语言，更要关注不同语言背后所承载的历史背景和文化传统，故在跨文化翻译中，译者应掌握处理文化的两种翻译方法：归化和异化。本文将系统地介绍归化和异化这两种翻译策略，并探究在跨文化翻译中如何选择这两种翻译方法。<br /> <br /> ==='''关键词'''===<br /> 归化 异化 跨文化翻译--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 00:55, 1 November 2020 (UTC)<br /> <br /> ==='''Introduction'''===<br /> Influenced by different geographical environment, historical development and other factors, different nations and countries form their unique culture. Translation plays an important role in cross-cultural communication. The translator as the main body of translation activities should convey the culture of one language in another language. In this process, the translator is faced with how and to what extent to show the cultural connotation of source language; therefore, the translator is bound to face the choice between domestication and foreignization.<br /> Domestication, oriented by the target language culture, aims to eliminate the strangeness brought about by the source text, but it also reduces the opportunities for the target readers to contact with foreign cultures. While foreignization, oriented by the source language culture, aims to retain the unique style and cultural characteristics of the source language, but it will increase the reading difficulty. The best way is to combine domestication with foreignization. Therefore, the translator should fully consider the type of the text and the readers of the translation to choose the translation strategies and methods reasonably.<br /> This paper will be divided into five parts. The first part is the introduction of this paper. The second part is the introduction of domestication and foreignization, as well as a brief introduction of the representatives of domestication and foreignization. The third part is an analysis of the factors that influence the choice of domestication and foreignization. The fourth part introduces the translation methods under domestication and foreignization. The fifth part is the conclusion.<br /> <br /> ==='''Domestication and Foreignization'''===<br /> The terms domestication and foreignization were first put forward by Lawrence Venuti in his work The Translator’s Invisibility. The two concepts of foreignization and domestication are defined by Venuti based on Schleiermacher’s distinction between the two different translation orientations. In his speech &quot;On the Different Methods of Translating&quot; in June 1813 Schleiermacher clearly pointed out that there can be only two ways of Translating. Either by keeping the author as still as possible, so as to lead the reader to the author; the other is to keep the reader as still as possible, thereby guiding the author to approach the reader (Jiang 2016). Venuti, on the basis of Schleiermacher’s distinction, called the former foreignization and the latter domestication.<br /> <br /> '''Introduction of Domestication'''<br /> According to Venuti, domestication is actually an ethnocentric practice, bringing foreign texts into the cultural values of the target language and thus “bringing the author back home” (2009).Therefore, in the process of translation, the translator follows the target language culture and adopts conservative methods to assimilate the original text so as to meet the needs of the target language readers. <br /> In this sense, the biggest advantage of the domestication is that it make the translated works more easily accepted by the target language readers and that readers can better understand the connotation of the source text. In addition, In addition, domestication well reflects the coexistence of different cultures in the process of communication, and shows that translators seek common ground when facing culture differences and conflicts. Of course, every coin has two sides. Domestication translation method also has its shortcomings. When translators adopt domesticating method, they tend to assimilate part of the original content with different language style or unique national culture, which makes the translation lose the characteristics of the original text, thus affecting the communication and spread of different cultures and hinders readers' understanding of foreign culture.<br /> Eugene Nida is the representative figure advocating domestication. Nida's functional equivalence theory or dynamic equivalence theory shows that he is a supporter of domestication translation. His dynamic equivalence theory shows that he pursues the most natural equivalence translation. He once said that “dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language” (Nida 2004). In other words, dynamic equivalence means that the reader's response to the translation is consistent with that of the original. Nida's dynamic equivalence theory fully considers the reader's language culture and the reader's ability to appreciate the translation. Therefore, in the course of translating, the translator should take the completely natural and smooth language expression as the goal. In order to make the translation natural and smooth, the translator must make some adjustments to the original text. Some heterogeneous cultures which are not accepted by readers should be eliminated as much as possible. Nida's dynamic equivalence theory takes the reader into full consideration. It aims to eliminate the readers' strangeness to the original content and let readers better understand the thought and meaning of the original text, which precisely reflects the characteristics of domestication translation.<br /> <br /> '''Introduction of Foreignization'''<br /> According to Venuti, foreignization is an ethnodeviant practice, keeping language and cultural differences of the original texts as far as possible and thus sending the reader abroad (2009). In other words, in order to show the cultural characteristics of the source work, translators use foreignising method during the translation to retain the characteristics of the source text and try to keep the writing techniques used by the author of the source language. Hence, for the readers of the target language, the translation is exotic and unfamiliar. <br /> Same to the domestication, foreignization also has its advantages and disadvantages. Foreignization, by transplanting the culture of the source language into the culture of the target language, enriches the culture of the target language to a great extent. For example, the Chinese phrase “武装到牙齿” is translated as “armed to the teeth”, which greatly spreads Chinese culture and enriches the English and Chinese language culture. Of course, foreignization also has its limitations. Some cultural differences and language differences are difficult to overcome. If foreignization is adopted blindly in the process of translation, there will produce some translations that readers cannot understand and accept, and translation will also lose its function of cultural communication.<br /> Schleiermacher and Venuti are strong supporters of foreignization. Schleiermacher’s preferred strategy is to accommodate the reader to the author. He claims that translations need not be same as the original author writes in the source language. The translation does not conform to the general expression habits of the target language. He believes that a translator who knows the target language can help target readers who are not proficient in the foreign language but have a strong understanding of the original text. In order to achieve this goal, the translator must adopt the foreignization translation method, emphasize the value of heterogeneous culture, and ensure the faithfulness to the original text by subordinating the words in the target text to the source language (Jiang 2016). In this way, the translation can be faithful to the meaning of the original text and can introduce heterogeneous cultures and concepts to readers of target language.<br /> In his book The Translator's Invisibility, Venuti expressed his understanding and support for foreignization translation in detail. He believes that foreignization translation is a kind of translation strategy that preserves and highlights the heterogeneity of the original text in the translation. First, he believes that foreignization is reflected in the selection of translation materials. He mainly aims at the classic translation of literature and culture of the target language. In fact, in the process of foreignising translation, the translator chooses a foreign text which is different from the mainstream culture of the target language, which can change the cultural composition of the target language. Second, foreignization translation is reflected in the language used by the translator in the process of translation. This means that in the process of translation, the closer the language style of the translation is to the language style of the original, the more heterogeneous the readers will feel. Moreover, Venuti advocates that in the process of translation, the translator should use words that are not commonly used and non-standard. Translators should mix slang, neologism or archaic words to achieve heterogeneous effects. In this way, the foreignization style of translation highlights the heterogeneity of foreign texts and challenges and resists the mainstream culture of the target language. Thirdly, foreignization translation is embodied in cultural alienation. By highlighting the cultural differences caused by language differences, foreignization translation promotes the development of cultural diversity, helps to resist the hegemony of European and American culture, and helps to promote the development of culture and language of weak and small nations. Fourthly, foreignising translation highlights and enhances the status of the translator, which changes the phenomenon that the smooth translation makes the translator invisible in the past, thus promoting translation research to gradually move to the academic center (Jiang 2016). Venuti believes that smooth translation has long occupied the mainstream position in the history of western translation, and the fluency of translation has become the standard to judge whether a translation is good or not. Venuti challenged and questioned this phenomenon. He said that the smooth translation covered up the translator's intervention and interpretation of the original text, and covered up the language and cultural differences of the original work. Therefore, he put forward the concept of resistant translation to expound his translation thoughts. Resistant translation refers to a translation strategy that preserves some heterogeneity in literary translation. The object of resistance is the prevailing translation thought in British and American culture, that is, fluent translation is acceptable translation (Fang 2011). Venuti challenged the dominant position of British and American culture and introduced the idea of weak culture by advocating resistant translation. Translation is not only a process of seeking similarities between languages and cultures, but also a process of facing the differences between languages and cultures. Translators cannot completely and thoroughly eliminate these differences. Therefore, a good translation must be the blending and collision of different cultures, from which the readers can better understand the cultural diversity.<br /> <br /> ==The Application of Domestication and Foreignization in the Translation of Chinese Allegorical Sayings 龚钰冕 Gong Yumian==<br /> <br /> '''Abstract''': Chinese Xiehouyu (allegorical sayings) is a unique part of Chinese folk culture, and people are familiar with it. The translation of Chinese and English allegorical sayings is a kind of cross-cultural communication activity that spreads the Chinese national language and culture to the English world. In depth study of the connotation and translation methods of Chinese allegorical sayings has played a significant role in promoting and improving the Chinese-English translation and cross-cultural communication between Chinese and English. Based on the theory of domestication and foreignization, this paper attempts to analyze the types and components of Chinese allegorical sayings, and to explore their translation strategies.<br /> <br /> '''摘要'''：汉语歇后语是中国民俗文化特有的一部分，人们耳熟能详。汉英歇后语翻译是一种将中华民族语言文化传播到英语世界的跨文化交流活动，深入学习研究汉语歇后语的内涵和翻译方法，对汉英语言的互译和跨文化交际都起到了很好的促进和提高作用。本文试图用归化和异化理论出发，分析汉语歇后语的类型及其构成，探讨汉语歇后语的翻译策略。<br /> <br /> '''Key Words''': Chinese Allegorical Sayings, domestication and foreignization, translation strategy<br /> <br /> '''关键词'''：汉语歇后语；归化和异化；翻译策略<br /> <br /> = '''Title Translation''' =<br /> <br /> <br /> ==A Study on the Translation of Movie Titles 陈惠 Chen Hui==<br /> <br /> == A Study on Movie Titles Translation from the Perspective of Skopos Theory 罗雨晴 Luo Yuqing==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''I.Introduction'''===<br /> <br /> ='''Translation of Cultural Words'''=<br /> <br /> <br /> ==Translation of Culture-Loaded Words in Li Qingzhao's Ci-Poetry Based on Scopos Theory==<br /> &lt;center&gt;周思庆 Zhou Siqing&lt;/center&gt;<br /> ==='''Abstract'''===<br /> This paper attempts to illustrate the influence of Skopos theory on translation strategies and the influence of translation strategies on translation effect by analyzing the different translations of culture-loaded words in Li Qingzhao’s Ci-Poetry based on Scopos Theory according to Nida’s classification of culture-loaded words. This research is of great significance to refresh blood into the study of Li Qingzhao’s Ci Poems and promote excellent Chinese traditional culture to go abroad.<br /> <br /> ==='''Key words'''===<br /> culture-loaded word, Li Qingzhao, Scopos Theory<br /> <br /> ==='''摘要'''===<br /> 本文主要以目的论为指导，以奈达对文化负载词的分类为依据，从对不同英译版本的李清照词中文化负载词的翻译进行分析，说明目的论对翻译策略的影响以及翻译策略对译文效果的影响，旨在为李清照词的英译研究注入新鲜血液，推动中国优秀传统文化走向世界。<br /> <br /> ==='''关键词'''===<br /> 文化负载词， 李清照， 目的论<br /> <br /> ==='''Introduction'''===<br /> Li Qingzhao, is the representative of the graceful and restrained school well-known for her elegant, fresh and refined language as well as rich and vivid images. Her poetry is an unparalleled cultural treasure in the history of Chinese literature. Culture-loaded words are those words rich in cultural connotations. Nida divided culture-loaded words into five categories, namely ecological, material, social, religious and linguistic culture-loaded words. As the representative of the “German school”, Hans J. Vermeer proposed the Scopos Theory and continued the functionalist tradition. Analyzing the culture-loaded words in different translations of Li Qingzhao's Ci Poems according to Scopos theory is conducive for the readers to grasp the elegant style of Li Qingzhao's, to figure out the proper translation strategies, and to encourage more creation of excellent translation works.<br /> <br /> ===Chapter 1 Introduction of Li Qingzhao and her Ci-Poetry===<br /> ====1.1 Brief introduction of Li Qingzhao====<br /> Li Qingzhao, a well-known poetess in Song Dynasty, is the only woman who is generally compared with the most outstanding poets. As a female writer, she suffered a lot in that unstable age full of oppression and discrimination, but still kept a resolute and resistant attitude toward life no matter how much turns and twists in the process of struggle. Li Qingzhao was born in a rich and cultured family in 1083. Thanks to her father Li Gefei, the Minister of Rites, and her well-educated mother, she had a peaceful and favorable circumstance in her childhood and received a good education, which paved the path for her literary career. Unlike most ignorant women in that age, she had great talent in many aspects, such as painting and music, especially writing. She was a versatile writer whose Ci Poems and prose are both excellent. Her contribution in literature earned great fame for herself.<br /> <br /> She married to Zhao Mingcheng, the son of a vice-president of the Board of Rides when she was eighteen years old. The marriage life was happy and idyllic in the early years. They collected and appreciated rare books, paintings and antiques together. However, their peaceful and harmonious life was ruined by the invasion of the Jurchens in 1127. They were forced to fled to the southern areas and separated with each other. The bulk of precious collections, including the ancient paintings, vessels, and books, lost during the fugitive way. Her husband was dispatched to a new official post in Zhe Jiang province and died on the way. Since then, Li Qingzhao lived lonely and homelessly in endless sorrow. The miserable and painful life experience didn't destroy<br /> her poetry proposition but deepened the theme of her literary works. The concern for the fate of the masses and country showed her great integrity and patriotic passion.<br /> <br /> ====1.2 Development and characteristics of Li Qingzhao's Ci-Poetry====<br /> <br /> As a literary form, Song Ci, also called Ci Poems or long-short lines, emerged in Tang Dynasty and popularized in Song Dynasty. Ci Poems revolved from a kind of folk music used for expressing the emotions through its original melody. Li Qingzhao is regarded as the representative of the graceful and restrained party.<br /> <br /> Generally, Li Qingzhao's proposition of Ci Poems can be divided into two periods according to the critical historical events in Song Dynasty and her personal life experience. The former period works most depicted her delightful life as a young girl. The theme includes the praise of nature and beauty, her pure love to her husband, and the memories of the innocent childhood, such as Rumengling( 如 梦 令 ), Dian Jiangchun( 点 绛 唇 ), Jianzimulanhua( 减 字 木 兰 花 ) ， Cai Sangzi( 采 桑 子 ), Zuihuayin(醉花阴), Yijianmei(一剪梅) and so on. As for the latter period, her works changed dramatically because of the downfall of the Northern Song Dynasty as well as the death of her husband. The theme of her poems turned to homesickness, the grief for the instability of the nation and the melancholy meditation of the miserable life. She transmitted her feelings in the images implicitly rather than cry out her sorrow directly. The poems written in this period include Spring in Wulin(武陵春), Shengshengman(声声慢), Yongyule(永遇乐) and so on.<br /> <br /> To conclude, her elegant and pure language and sensitive emotion were demonstrated in both of her literary period. Her Ci Poems are full of accurate and vivid images, leaving the readers a wide imagery space. No other poetess in Song Dynasty can replace her position in the Chinese history of literature.<br /> <br /> ===Chapter 2 Introduction of Scopos theory===<br /> ====2.1 Historical development of Scopos theory====<br /> <br /> Functional approaches emerged in 1970s and developed through three stages: (1)Katharina Reiss introduced the functional category of translation criticism; (2) Hans J. Vermeer proposed Scopos theory; (3) Justa Holz-Manttari put forward the theory of translation action.<br /> <br /> In the first stage, Katharina Reiss proposed the text function and translation strategy, which paves the way for the Scopos theory. The theory foundation of Reiss’s theory is the functional equivalence theory, which aims to establish a model of translation criticicm based on the functional relationship between source text and target text (Zhang Chenxiang, 2007:32). Katharina Reiss divided text into three categories: expressive text, informative text and vocative text. The proposal of functional translation theory signifies that translation study gradually get rid of static linguistic typologies.<br /> <br /> In the second stage, Hans J. Vermeer established the initial theory of functional group, Scopos theory, further developing the functional translation theory. He pointed out that translation is a human activity and a kind of transformation. Every human activity has its purpose and will create certain consequence , a new situation or event or a new thing (Zhang Chenxiang, 2007:34). This is the origin of Scopos theory. Reiss mentioned that, “the source text can be assigned to a text type and a genre, and in making this assignment, the transoat0r can decide on the hierarchy of postulates which has to be observed during target-text production” (Reiss and Vermeer, 1984:196). Vermeer thinks that translators needn’t be restrained to certain translation method, instead, the translators should consider the purpose of translation and the psychology of the target audience and use the translation strategies flexibly. In the process of translation, the translator can adapt literal translation or free translation according to the situation to make sure the expected effect can be realized.<br /> <br /> In the third stage, Justa Holz-Manttari developed Vermeer’s theory and proposed the theory of translation action 1n 1984. She avoid using the term “translation” and focus on the process of translation which concludes traditional translation and other text building activity. In Holz-Manttari’s model, translation is defined in a broader sense as “a complex action designed to achieve a particular purpose”, or an intercultural communication whose product is the target text which achieves appropriate function in a particular cultural context. According to the functional approach, all participants have certain functions or roles in the interaction. The TT addressees are crucial in specification of the purposes of translation(Nord, 2001:20).<br /> <br /> ====2.2 Basic rules of Scopos theory====<br /> <br /> In the Scopos theory, there are three basic rules, namely skopos theory, coherence rule and fidelity rule. Among the three rules, scopos rule is the most significant one. “Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precissely in the way they want it to function.” This rule can help solve the contradiction between literal translation and free translation. It means that the choosing of translation strategies depends on translation purpose. When the scopos focuses on the original language, as long as the features of the original culture is well expressed, literal translation or even word for word translation can be adopted.<br /> <br /> The coherence rule is also named intra-textual coherence by functionalists. It requires that the translated text should make sense on the communicative situation in which it is received. It specifies that a translation should be acceptable in a sense that it is coherent with the receivers’ situation (Reiss and Vermeer, 1984: 100) Being coherent means being “part of the receiver’s situation”, so the cultural aspects should be taken into consideration. Besides, the target readers’ culture-specific world-knowledge, expectations and communicative needs are also important factors which may affect the way of handing a text, translators ought analyze these factors carefully. (Li Zhao, 2011:24)<br /> <br /> Since the source text is the offer of information , it should also be taken into account. Fidelity rule is also named “intertextual coherence”. This coherence balance the source text and the target text and the form and degree of such intertextual coherence are determined by the translator’s interpretation of the source text and the translation skopos. However, intertextual coherence is subordinate to intra-textual, and both of the two are subordinate to the skopos rule.<br /> <br /> ===Chapter 3 Introduction of culture-loaded words===<br /> ====3.1 Definition of culture-loaded words====<br /> <br /> Since Bassnett and Lefervere put forward the concept of “cultural turn” in 1990, the interaction between translation and culture has been drawn more attention. During the five thousand years’ civilization, China has accumulated its unique culture due to the unique geographical locations, living environments, historical background, etc. <br /> <br /> Many scholars has made different definitions to cultural loaded words. J. F Aixel gives these words another name “cultural-specific items” and defined them as: “some items appearing in the source text do not have equivalent items in the target reader’s cultural systems” (J. F Aixel, 1996:58). Later, Mona Baker defined culture-loaded words as: “The source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as ‘cultural-specific’.”(Baker, 2004:21). This paper studies the translation of culture-loaded words according to Nida’s classification of cultural elements. Nida divided culture into five categories: ecological culture, material culture, social culture, religious culture and linguistic culture. This paper will analyze the culture-loaded words according to the five categories.<br /> <br /> ====3.2 Classification of culture-loaded words====<br /> <br /> 3.2.1 Ecological culture-loaded words<br /> <br /> Culture develops in certain ecological environment, so different region has different culture. Ecological culture-loaded words refer to those words that reflect the distinctive geographical conditions, the natural surroundings, feature of the climate, plants and animals, etc. in a language. Even the connotations of the same thing in western and eastern culture are different or even opposite.<br /> <br /> For example, the “west wind” in China is totally different from that in western countries. Because China lies in the Eastern Hemisphere, with mountains to the west and oceans to the east. This location makes it dry and cold in autumn and winter when the west wind blows. Therefore, the west wind in Chinese culture often refers to the cold wind in autumn an winter, which is often used to describe the desolate, cold, and sometimes also compared to the decadent force of the fall of the sun with a derogatory meaning. Such as “古道西风瘦马” in Ma Zhiyyuan’s 《天净沙·秋思》. On the contrary, Britain is located in the western hemisphere, the west Atlantic island, and the east is the continent of Europe. When the west wind blows from the Atlantic Ocean, Britain is in the season of revival. Therefore, in English culture, the west wind is the symbol of hope and strength. For example, the Ode to the West Wind, a famous British poem, reflects this meaning. Obviously, through the above analysis, we know that “西风” and the west wind have the same conceptual meaning but have very different associative meaning due to different ecological environment.<br /> <br /> 3.2.2 Material culture-loaded words<br /> <br /> Material culture-loaded words include the words related to the economic life, daily supplies, commodities, food, transportation, etc. Different nations have different living habits, so the material products are quite different. For example: “旗袍”(qi pao), “麻将”(ma jiang),”馄饨”(Wonton), etc.<br /> <br /> 3.2.3 Social culture-loaded words<br /> <br /> The tradition, custom, living habit, social activity, etc. All belong to the category of social culture. Due to different historical background, political feature, tradition and custom, the social culture-loaded words formed and developed. For instance, “重阳节”(chong yang jie) is a traditional Chinese festival to give the blessings to the old people, which is familiar to Chinese but unfamiliar to foreigners.<br /> <br /> 3.2.4 Religious culture-loaded words<br /> <br /> Religious culture is composed by the religious faith and and ideology under the different nation’s cultural background, which demonstrate in the difference in psychology and language behavior. Chinese people advocate Confucianism, Buddhism and Taoism whereas western people mainly believe in God. Therefore, the cross-cultural communication barriers and language translation barriers emerged. Religious culture-loaded words reflects the characteristics of religious beliefs, so it is quite difficult for the foreigners to understand the Chinese religious culture-loaded words. For example, western people believe in God while Chinese people believe in “天”(tian), “菩萨”(pu sa), “佛”(fo).<br /> <br /> 3.2.5 Linguistic culture-loaded words<br /> <br /> Language as one part of culture also produces translation problems. Since the two languages belong to two different language systems, their different language features will be involved in translation. These particularities may be reflected in phonetics, morphemes, vocabulary and syntax. For example, reduplicative words and four-character words and expressions are frequently seen in Chinese but are rarely seen in English.<br /> <br /> ===Chapter 4 The application of Scopos theory in the translation of culture-loaded words===<br /> <br /> Chinese culture and western culture are so different due to different geographical location and historical background. And these differences also reflect in the two language systems, which is also known as cultural gap. In the process of translating Li Qingzhao’s Ci-Poetry, the translator may face all kinds of problems due to the cultural gap. In this chapter, the focus is on analyzing the suitable translation strategies from the perspective of Scopos theory.<br /> <br /> ==='''Conclusion'''===<br /> ==='''Acknowledgements'''===<br /> ==='''References'''===<br /> <br /> ==A Study on Culture-loaded Words in ''Six Chapters of a Floating Life'' Translated by Lin Yutang from the Perspective of Domestication and Foreignization 蒋淇玮 Jiang Qiwei==<br /> <br /> ==='''Abstract'''===<br /> <br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines.<br /> Among the current English versions of this book, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to catch a glimpse of the life of an obscure Chinese scholar.<br /> Six Chapters of a Floating Life is written in classical Chinese and has a long history, which both make the translation more difficult, especially the translation of its culture-loaded words.<br /> Culture-loaded words refer to words, phrases and idioms that demonstrate specific things in a culture. As we all know, China has a centuries-old history and rich civilization, possessing plenty of unique cultural phenomena, not to mention numerous culture-loaded words. In Six Chapters of a Floating Life, there are many culture-loaded words that are worthy of study.<br /> By consulting relevant materials, I find that there are only a few works analyzing cultural-loaded words in Six Chapters of a Floating Life from the perspective of domestication and foreignization.<br /> This pair of translation terms was put forward by Lawrence Venuti, a famous American translation theorist, in The Translator's Invisibility in 1995. As a matter of fact, domestication and foreignization are a unity of opposites and complement each other. Neither absolute domestication nor foreignization exists. There are different degrees of domestication and foreignization in all translation activities and works. Therefore, it is reasonable, scientific and feasible to analyze Mr. Lin’s translation from this perspective, which can fill certain research vacancy and benefit future studies in this field.<br /> Thus, in this thesis, the author will subdivide domestication and foreignization into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Key Words'''===<br /> <br /> domestication; foreignization; Six Chapters of a Floating Life; Lin Yutang; culture-loaded words<br /> <br /> ==='''摘要'''===<br /> <br /> 《浮生六记》是清代文人沈复于1808年所著的自传体散文，以真言诉真情，为历代读者所推崇。目前流传较广的《浮生六记》英译本中，林语堂先生的Six Chapters of a Floating Life成文最早且与沈复原文风格最为接近，让不少外国读者得以一窥中国一无名文人的若梦浮生。<br /> 沈复此书以文言文著就，加上距今年代较为久远，译者的翻译之路可谓困难重重，这其中文化负载词的处理更是值得反复推敲。文化负载词是标志某种文化中特有事物的词、词组和习语。众所周知，中华民族的历史文明源远流长，独有的文化现象数不胜数，应运而生的文化负载词自然不在少数。《浮生六记》一书中就有相当数目的文化负载词具有研究价值。<br /> 通过查阅相关资料，本人发现从归化和异化角度来解读林译中文化负载词的研究还少之又少。归化和异化这对翻译术语是由美国著名翻译理论学家劳伦斯·韦努蒂（Lawrence Venuti）于1995年在《译者的隐身》中提出的。作为两种翻译策略，归化和异化是对立统一、相辅相成的，绝对的归化和绝对的异化都是不存在的。所有的翻译活动及作品都存在不同程度的归化和异化现象，故而，从这一角度来分析林译具有合理性、科学性和可行性，且能填补一定的研究空缺，为之后的相关研究提供可参考的思路与借鉴。<br /> 因此，本文作者将聚焦这一文学经典，将归化与异化这两种翻译策略细分为不同的翻译方法，对林译中有代表性的文化负载词进行分析解读，以小见大，从词见章，进而证明归化与异化的翻译策略的指导性，找出林译在国内外成功的原因，指出其在中国文化“走出去”中所起的积极作用，并为文化负载词的翻译难题提供解题思路及开口，引起大众对于文化翻译的重视与思考。<br /> <br /> ==='''关键词'''===<br /> <br /> 归化，异化，《浮生六记》，林语堂，文化负载词<br /> <br /> ==='''Chapter One Introduction'''===<br /> <br /> With globalization surging ahead, cultural communication and exchange have become rising tides that no one can fight against. Chinese and English, as the language with the largest number of users and the language most widely used in this globe, are both crucial languages, which work as vital bridges in cultural world.<br /> However, as is known to all, China is a nation of age-old history and rich civilization. On her vast earth, there grows plenty of unique cultural phenomena. As a result, quite a number of culture-loaded words have been emerging. For culture-loaded words have their specific cultural connotations, it is hard to render them so that foreign readers could understand, which is a real and tough task for translators. <br /> Six Chapters of a Floating Life is an autobiographical prose written in classical Chinese by Shen Fu, who was a Chinese scholar in Qing dynasty, in 1808. It is popular among readers for its genuine words and sincerity between the lines. In this book, there are many culture-loaded words, which are worth studying.<br /> Among the current English versions of it, Lin Yutang's Six Chapters of a Floating Life is written first and the closest with the original version in style, which enables lots of foreign readers to take a look at the life of an obscure Chinese scholar.<br /> Thus, in this thesis, under the guidance of translation strategies, domestication and foreignization, the author will subdivide them into several detailed translation methods so as to analyze representative culture-loaded words in Six Chapters of a Floating Life. By doing this, this paper aims to prove the instructiveness of the translation strategies of domestication and foreignization, find out the reasons of the success of Mr. Lin’s translation, point out the positive role of this translation in the &quot;going out&quot; of Chinese culture, and provide reference for the translation of culture-loaded words.<br /> <br /> ==='''Chapter Two Literature Review'''===<br /> <br /> 2.1 A Study on Six Chapters of a Floating Life<br /> For the sake of carrying on this study, we must have a basic understanding of both our original and translated text sources: Six Chapters of a Floating Life. Hence we will have a brief review of its original version and English version translated by Mr. Lin in the following paragraphs. <br /> <br /> 2.1.1 A Brief Review of Its Original Version<br /> Six Chapters of a Floating Life is an autobiographical prose written by Shen Fu, who was an unknown scholar in Qing dynasty, in the 13th year of Jiaqing (AD 1808). It includes six chapters, of which only four remain, recording Shen Fu’s wedded bliss, pleasures of life, ups and downs, travel experiences, experiences in Formosa and the way of life. The phrase in this book’s title &quot;floating life&quot; derives from a passage in Li Po's poem, “ Our floating life is like a dream; how often can one enjoy oneself ?”<br /> Shen Fu, whose courtesy name is Sanbai, and alternative name Meiyi, was born in Suzhou, Jiangsu province in China in the 28th year of Qianlong (AD 1763). He was a man of letters, who was once an assistant to ranking officials and a merchant.<br /> The remaining four chapters of Six Chapters of a Floating Life was accidentally found on the stall in Suzhou by a man called Yang Yinchuan. Yang passed it on to Wang Tao, his brother-in-law, who then published it with movable type in 1877. Subsequently, this book gradually established itself on the literary field.<br /> This book is a pure and fair record of Shen Fu's ordinary but difficult life, which is still full of unforgettable and beautiful moments. It is incredibly touching, for Mr. Shen wrote down his real experiences and sincere feelings in plain words naturally, without traces of sham.<br /> Nowadays, Six Chapters of a Floating Life has become a classic and owned a mass of readers. Many people even called it “little A Dream in Red Mansions” for its description of the conflicts in the feudal family and society, which highly affirms its literary value and achievements.<br /> <br /> 2.1.2 A Brief Review of Its English Version Translated by Lin Yutang<br /> In the spring and summer time of 1935, Lin Yutang successively translated Six Chapters of a Floating Life into English and serialized them in the English magazines T'ien Hsia Monthly and Hsi Feng published in Shanghai. For the sake of better work, Mr. Lin has modified his translation no less than ten times. Now, his translation version has been acknowledged as the most popular one for it is the closest to the original text in terms of writing style.<br /> Lin Yutang once highly praised Shen Fu’s wife Yün, “Yün, I think, is one of the loveliest women in Chinese literature.” Mr. Lin said he translated the work for two reasons, one is to let the world know Yün by her name, and the other is that he has found lots of things in the simple life of this couple, the pursuit of beauty, the experience of ups and downs, and unswerving love for carefreeness.<br /> In February of 1999, Foreign Language Teaching and Research Press reprinted Six Chapters of a Floating Life with Mr. Lin’s translation in the form of picture book. Its introductory notes claim that the reprinting is first due to Mr. Lin’s translation work, which has contributed a lot in the promotion of Chinese culture, secondly Mr. Lin’s superb artistic attainments and extraordinary cultural accomplishments, and lastly his beautiful and skilled use of English language. It demonstrates that Mr. Lin's translation has a far-reaching influence.<br /> <br /> 2.2 An Introduction of Culture-loaded Words<br /> Here we will focus on another important item in this study: culture-loaded words. This introduction covers three aspects, including definition, categorization and previous studies on them in Six Chapters of a Floating Life, which enable us to distinguish, select and analyse culture-loaded words in future steps.<br /> <br /> 2.2.1 Definition of Culture-loaded Words<br /> There are many definitions for culture-loaded words, and I have presented three different versions below. <br /> First, Mona Baker claims that &quot;the source-language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as `culture-specific' &quot; (2000:21). This definition mentions three fields, namely religion, custom and food, which are now recognized to be among the main sources of culture-loaded words. Second, it means that the cultural information words carry in the source language finds no equivalent in the target language (包慧南，2001：10). In this version, the focus is “no equivalent”, which reveals why it is significant to study the translation of culture-loaded words. For in numerous cases, there is no equivalent in the target language. Third, J.F. Aixelá, a Spanish translator and translation theorist, defines them as &quot;culture-specific items&quot; and states in his book Culture-specific Item in Translation that &quot;Some items appeared in the source text do not have equivalent items in the target readers' cultural system or these items have different textual status with those in the target readers' cultural system, thus leading to translation difficulty while transferring the function and meaning of the source text to the target text&quot; (张南峰，2004：19). From this definition, we are able to get a new perspective. Besides “no equivalent”, it makes a point that culture-loaded words can exist in the target cultural system but with different function and meaning.<br /> To sum up, as barriers to translation, culture-loaded words have no equivalent in other cultural systems and are marks and mirrors of a nation’s distinct environment, which are often seen in fields like religion, custom, food etc.<br /> <br /> 2.2.2 Categorization of Culture-loaded Words <br /> Eugene Nida considers that &quot;if translators want to do a good job in cross-cultural translation, there are five types of cultural factors: 1) ecological culture; 2) material culture; 3) social culture; 4) religious culture; and 5) linguistic culture&quot;(胡壮麟、姜望琪，2002). In line with Nida's categorization of cultural factors, culture-loaded words can also be classified into five types accordingly, namely ecological culture-loaded words, religious culture-loaded words, material culture-loaded words, social culture-loaded words and linguistic culture-loaded words.<br /> This thesis will analyze Lin Yutang’s translation of culture-loaded words in Six Chapters of a Floating Life on the basis of Nida's categorization.<br /> <br /> 2.2.3 Previous Studies on Translation of Culture-loaded Words in Six Chapters of a Floating Life<br /> Among those studies of the English versions of Shen Fu’s Six Chapters of a Floating Life, the studies of Mr. Lin’s account for a large proportion of it. In Quan Shulian’s article “Translator’s Cultural Orientation: Comparative Study of Translation of Culture-loaded Words in Six Chapters of a Floating Life”, she compares the translation of culture-loaded words done by Mr. Lin and Shirley Black and then claims that Shirley Black tends to use domestication while Mr. Lin applies foreignization more frequently. With a different focus, Li Yi, who has studied the culture-loaded words in Six Chapters of a Floating Life translated by Lin Yutang, analyzes the translation of culture-loaded words in three aspects: wording, Chinese idioms and the looks of women, and concludes that it is the purpose of translation determines which translation strategies to use and domestication and foreignization are a unity of opposites which should not be discussed apart. <br /> <br /> ==='''Chapter Three An Analysis of Translation Strategies Based on ''Six Chapters of a Floating Life'''''===<br /> <br /> 3.1 Translation Strategy of Domestication<br /> Domestication, as opposed to foreignization, refers to a translation strategy, which aims to translate the source text into target language in a transparent, fluent and natural style so as to minimize the strangeness for target readers.<br /> As free translation is the most widely used translation method pertaining to domestication, we will discuss it and its two branches paraphrase and idiomatic translation.<br /> <br /> 3.1.1 Free Translation <br /> Free translation refers to a translation method that reproduces the transferred meaning of the source text, which can be further divided into paraphrase and idiomatic translation.<br /> <br /> 3.1.1.1 Paraphrase <br /> When applying paraphrase, the translator translates the source text explanatorily, without application of collocations and idioms in the target language as replacement of those parts in the source text.<br /> <br /> 1a. 合卺后，并肩夜膳，……（沈复，2018：7）<br /> 1b. After the drinking of the customary twin cups between bride and groom, we sat down together at dinner… (Lin Yutang, 2019: 35)<br /> <br /> The Chinese phrase “合卺” refers to a characteristic part of ancient Chinese wedding ceremonies that the newlyweds drink cross-cupped wine in their wedding room. Foreign readers would have difficulty comprehending this phrase as there is no such a rite in their countries. Thus, Lin Yutang applies the translation method of paraphrase, explaining exactly what the custom is, which enables foreign readers to understand this special activity.<br /> <br /> 3.1.1.2 Idiomatic Translation<br /> Idiomatic translation is an explanatory method of translation as well, with application of collocations and idioms in the target language as replacement of the parts in the source text.<br /> <br /> 2a. 井井然未尝稍失。（沈复，2018：9）<br /> 2b. Whatever she did was done well, and it was difficult to find fault with her. (Lin Yutang, 2019: 40-41)<br /> <br /> “未尝稍失”means that someone handles things incredibly well, without anything wrong. And we can translate this Chinese phrase just in such an explanatory way, for it is clear and correct in meaning. But it is comparatively lengthy. That’s why here Mr. Lin adopts the English phrase “find fault with”, which is quite familiar to English users. For it conveys the meaning of the source text precisely and concisely, and improves the smoothness of foreign readers’ reading activity.<br /> <br /> 3.2 Translation Strategy of Foreignization<br /> Compared to domestication, foreignization refers to a translation strategy that retains the original expressions and differences between source and target languages to a larger extent. This translation strategy can offer foreign readers more exotic information if they are willing to explore, but the reading process is less natural and efficient. <br /> And foreignization consists of three translation methods, namely transliteration, word-for-word translation and literal translation, which will be presented below.<br /> <br /> 3.2.1 Transliteration <br /> Transliteration refers to the rendering of alphabets, words or phrases in one language with symbols of similar or even the same pronunciations in another language.<br /> <br /> 3a. 服余衣，长一寸又半；于腰间折而缝之，外加马褂。（沈复，2018：31）<br /> 3b. As my gown was found to be an inch and a half too long, she tucked it round the waist and put on a makua on top. (Lin Yutang, 2019: 108)<br /> <br /> The Chinese phrase “马褂” refers to the mandarin jacket worn over a gown, which is a kind of special costume of Chinese characteristics. It is popular in Qing dynasty and the Republic of China. Originally, it’s worn by the Chinese Manchu people on horseback. “马” means “horse” in English. “褂” means a short gown. And that is the reason why this costume is called “马褂”in Chinese. Though foreign readers barely know this kind of clothes and its origin, Mr. Lin translates it as “makua” tersely according to its Chinese pronunciation, which offers foreign readers an opportunity to get a clue of the new item “makua” and shows his confidence of Chinese history and culture.<br /> <br /> 3.2.2 Word-for-word Translation<br /> Word-for-word translation is the rendering of text in which a word is used to replace another in the source text without considering the differences between the two languages in morphology, syntax and semantics, so as to translate a word in accordance with the paraphrasing method.<br /> <br /> 4a. 一场，主考得香钱百文。（沈复，2018：57）<br /> 4b. The official examiner would get one hundred cash “incense money”. (Lin Yutang, 2019: 253)<br /> <br /> “Incense” translated into Chinese is “香”, while the English equivalent of “钱” is “money”. From this we can find that “incense money” is a word-for-word correspondence with “香钱”. There are much fewer people in English-speaking countries who are Buddhists, compared with China. So the concept of “incense money” may be strange to them. Here, Mr. Lin translates this phrase literally without transforming or considering morphological differences in two languages, which shows a brand-new concept to plentiful foreign readers. And it might arouse their interest to figure out what this phrase implies and what’s the culture connotation behind it.<br /> <br /> 3.2.3 Literal Translation<br /> Literal translation, or directed translation, is the rendering of text in which a word is used to replace another word in the original text correspondingly, with consideration of the differences between the two languages in morphology, syntax and semantics, so as to enable the translation to conform to the lexical and syntactic norms of the target language.<br /> <br /> 5a. 急人之难，成人之事，嫁人之女，抚人之儿，指不胜屈，挥金如土，多为他人。（沈复，2018：63）<br /> 5b. He used to help people in trouble, bring up other people's sons and marry off other people's daughters in innumerable instances, spending money like dirt, all for the sake of other people. (Lin Yutang, 2019: 299)<br /> <br /> “挥金如土” in Chinese means to throw one’s money about. There is a set expression in English both in meaning and construction, which is “spending money like water”. But instead of the image “water”, which is more common and well-accepted among English people, Mr. Lin keeps the original image “dirt” in his translation. That’s because the image “dirt” is more acknowledged by Chinese people, who have been rooted in agriculture civilization and dealt with dirt all the time. Hence, the literal translation of “dirt” into English is able to let readers of different culture background grasp more of the source text and aware of the culture differences.<br /> <br /> 3.3 A Brief Conclusion on the Translation Strategies <br /> In this Chapter, we have mainly discussed five translation methods based on Six Chapters of a Floating Life. Among them, two belong to the translation strategy of domestication while three the translation strategy of foreignization.<br /> The former instances from the book have proved that the application of the translation methods under domestication enables foreign readers to comprehend and accept literary works in a closer and more natural way, while the translation methods under foreignization provides them with a choice to feel the cultural differences and find out more valuable information. There is no absolute domestication or foreignization and no perfect choice of translation strategies. It is the purposes of translation that determine which translation strategy or methods to use. As to Mr. Lin, he has combined the usage of both the two superior strategies and their translation methods in his translation of Six Chapters of a Floating Life.<br /> <br /> ==='''Chapter Four An Analysis of the Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'''''===<br /> <br /> 4.1 Domestication Applied in Culture-loaded Words<br /> In this part, we will center upon some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of domestication.<br /> <br /> 4.1.1 Free Translation of Culture-loaded Words<br /> As we have mentioned before, free translation is the most commonly used translation method pertaining to domestication and it includes paraphrase and idiomatic translation. Therefore, we will discuss them with examples of culture-loaded words in the book. <br /> <br /> 4.1.1.1 Paraphrase of Culture-loaded Words<br /> The following two examples are able to demonstrate the brilliant use of paraphrase by Mr. Lin in his translation of culture-loaded words.<br /> 6a. 自此耳鬓相磨，亲同形影。（沈复，2018：9）<br /> 6b. And so every day we rubbed shoulders together and clung to each other like an object and its shadow… (Lin Yutang, 2019: 42)<br /> <br /> The Chinese phrase “耳鬓相磨” is culture-loaded, which just derives from this book of Shen Fu. It literally means the rubbing of people’s ears and sideburns, whose extended meaning refers to the close relationship among people. Here Mr. Lin applies the new image of shoulders instead of the original images of ears and sideburns, for it would be hard for foreign audience to grasp the connection between ears and sideburns and the intimacy within them. Meanwhile, rubbing shoulders can accurately express the meaning of closeness in English. So he uses the phrase “rubbed shoulders” to convey the original meaning in an explanatory way.<br /> <br /> 7a. 粉颈 （沈复，2018：8）<br /> 7b. Beautiful white neck (Lin Yutang, 2019: 38)<br /> <br /> In China, scholars conventionally adopt the word “粉”, which is “pink” in English, to modify one’s face, neck, etc. to show that one’s skin is white touched with red. However, if translating the Chinese term “粉颈” literally, we will get the phrase “pink neck”. There is no doubt that it will be odd for foreign audience. Therefore, Mr. Lin uses “beautiful white” rather than “pink” to modify “neck”, which expresses the meaning of “粉” briefly and precisely without causing troubles to readers and makes their reading activities more natural and pleasant.<br /> <br /> 4.1.1.2 Idiomatic Translation of Culture-loaded Words<br /> The following example is able to demonstrate the fine use of idiomatic translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 8a. 大醉而卧（沈复，2018：7）<br /> 8b. I fell asleep drunk like a fish. (Lin Yutang, 2019: 37)<br /> <br /> This four-character Chinese phrase means one is lying in a state of terrible drunkenness. In the processing of this phrase, Mr. Lin uses a set English phrase “drunk like a fish”, which describes that one is terribly drunk. The adoption of this ready-made phrase in translation does convey the meaning of the source text correctly and vividly, which makes it easy for foreign readers to catch on and picture the scene. From this we can see that wise use of idiomatic translation may yield twice the result with half the effort.<br /> <br /> 4.2 Foreignization Applied in Culture-loaded Words<br /> In this part, we will center on some culture-loaded words in Six Chapters of a Floating Life that are translated by Mr. Lin with the adoption of foreignization.<br /> <br /> 4.2.1 Transliteration of Culture-loaded Words<br /> The following two examples are able to show the use of transliteration by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 9a. 故上下呼芸为“三娘”。后忽呼为“三太太”……（沈复，2018：63）<br /> 9b. hence they used to call Yün “san niang” at home, but this was later suddenly changed into “san t'ai t'ai”. (Lin Yutang, 2019: 301)<br /> <br /> “San” refers to “number three” in Chinese. “Niang” generally means a young married woman in a big household, while “t’ai t’ai” suggests the mistress of an independent home. “Niang” and “t’ai t’ai” are two of those unique terms of addressing people in ancient Chinese society, so there are no equivalents in English. That’s why Mr. Lin chooses to introduce their Chinese sounds to foreign audience, which leaves them a hint to learn two interesting addresses with era characteristics and know the distinct Chinese system of addressing.<br /> 10a. 余则从之学画，写草篆，镌图章…… （沈复，2018：56）<br /> 10b. They would then either write “grass-script”, or “chüan-script” or carve seals… (Lin Yutang, 2019: 247)<br /> <br /> “篆书” refers to a style in Chinese calligraphy, often used on seals. If we translate the Chinese character “篆” literally into English it would be “seal”. However, Mr. Lin abandons the easy translation of “seal- script” and renders this calligraphy style as “chüan-script” according to its Chinese pronunciation, which exhibits an individual kind of Chinese writing style to foreign readers. There will be problems that most people who know little about China will feel difficult to understand this ancient “script”. And if they desire to figure it out, they need to do extra work beyond reading this book. Nevertheless, in this way, they have chances to know much more about China, which is an efficient way of spreading Chinese culture and driving cross-cultural communication.<br /> <br /> 4.2.2 Word-for-word Translation of Culture-loaded Words<br /> The following example is able to show the masterly use of word-for-word translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 11a. 芸笑曰：“白字有缘，将来恐白字连篇耳。”（沈复，2018： <br /> 13）<br /> 11b. “It is all right,” Yün smiled and replied. “to have one's life bound up with the Po's, only I am afraid I shall be writing Po characters all my life.” (Lin Yutang, 2019: 54-55)<br /> <br /> The so-called Po characters are words written wrong. This kind of words indeed exists in Chinese writing system, but they are used in a wrong way by people for they are of similar pronunciations and forms while in different meanings. In translation of this sentence, Mr. Lin renders “白字”, which means misspelt words, as “Po characters” word for word. “Po” is close to the pronunciation of Chinese character “白”, while “character” literally means “字” in Chinese. Mr. Lin translates the culture-loaded phrase like this to demonstrate a new term to foreign readers, instead of “misspelt word” which is easy to grasp but lack of Chinese charm. In this way, foreign readers can be more conscious of the original cultural genes lie behind those English words.<br /> <br /> 4.2.3 Literal Translation of Culture-loaded Words<br /> The last two examples will show the tactful use of literal translation by Mr. Lin in his translation of culture-loaded words.<br /> <br /> 12a. 但李诗宛如姑射仙子，有一种落花流水之趣，令人可爱。 <br /> （沈复，2018：12）<br /> 12b. but Li Po’s poems have the wayward charm of nymph. His lines come naturally like dropping petals and flowing waters, and are so much lovelier for their spontaneity. (Lin Yutang, 2019: 53)<br /> <br /> In Chinese, “落花流水” is an idiom, which usually refers to the beauty of the scenes is waning in the late spring or one is defeated utterly. But this phrase is used here to compliment Li Po’s poems’ fluency and naturalness. Even though this expression is full of Chinese features, it is not too hard for foreign readers to get its implication from the images of “dropping petals” and “flowing waters”. For we have a common sense about these two natural scenery that they are both in the state of harmony and fluency. So Mr. Lin’s adoption of the method of literal translation is quite appropriate here and leaves some space for readers to imagine and taste by themselves.<br /> <br /> 13a. 芸曰：“世传月下老人专司人间婚姻事……” （沈复，2018：27）<br /> 13b. “It is said that the Old Man under the Moon is in charge of matrimony,” said Yün. (Lin Yutang, 2019: 92)<br /> <br /> “月下老人” is the god of marriage who is in charge of human love relationships in Chinese mythology. This image is peculiar to China, so it stands to reason that there is no equivalent expression in other countries. When rendering this culture-loaded phrase, Mr. Lin chooses the method of literal translation with words of capitalized initial letters, which enables readers to feel that it is obviously a new culture symbol for them and the Old Man may be a Chinese god. Then it is up to the readers themselves if they want to search for some more information about this “Old Man under the Moon” or not. In this way, the translation becomes briefer and it rests with the readers concerning how much information they will get beyond the lines.<br /> <br /> ==='''Chapter Five Conclusion'''===<br /> <br /> Concerning the current fact that different cultural systems around the world are becoming increasingly connected, translation activities have been literally taking place at every moment. However, the cultural differences in different counties have made it an arduous task. In view of the tremendous differences between China and English-speaking countries, the translation works are no easy tasks as well.<br /> As symbols which carry lots of cultural information, culture-loaded words are obstacles in translation, for they have no equivalents in other languages. So when translating these words, translators need to be alert and adopt the most proper translation strategies and methods so as to achieve the translation purposes to the deepest extent.<br /> In this thesis, guided by domestication and foreignization, the author has discussed several culture-loaded words in Six Chapters of a Floating Life, which translated by Lin Yutang. Different from other theses focusing on this issue, the author probes it in five detailed translation methods under the two translation strategies we have mentioned before.<br /> Through the analysis of former examples, we can come to the point that domestication and foreignization are the unity of opposites. There is no standard answer that which translation strategy should be used in which circumstances. It is the purposes of translation that determine our choice. In the translation of Six Chapters of a Floating Life, Lin Yutang has proved this to us by using different translation methods in accordance with his purposes, which contributes to his translation success both at home and abroad and the cultural exchanges between China and other countries.<br /> In total, this thesis has basically fulfilled its tasks to prove the instructiveness of the translation strategies of domestication and foreignization, and find out the reasons why Lin Yutang’s translation version turns out to be a huge success and receives warm responses. At the same time, it points out that this translation has played an active role when Chinese culture steps out to the global stage, and provides reference for the translation of culture-loaded words.<br /> <br /> ==='''Bibliography'''===<br /> <br /> [1]. Lawrence, Venuti. The Translator’s Invisibility [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> [2]. Eugene, A. Nida. Language and Culture: Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [3]. Eugene, A. Nida. Toward a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.<br /> [4]. Mona, Baker. In Other Words: A Coursebook on Translation [M]. Beijing: Foreign Language Teaching and Research Press, 2000.<br /> [5]. 包惠南. 文化语境与语言翻译[M]. 北京：中国对外翻译出版公司，2001.<br /> [6]. 冯丽. 浅析文化视角下的林语堂译本《浮生六记》[J]. 漯河职业技术学院学报，2013(3)：116-117.<br /> [7]. 胡壮麟，姜望琪. 语言学高级教程[M]. 北京：北京大学出版社，2002.<br /> [8]. 刘艾莉. 认知翻译观视角下《围城》中文化负载词的翻译研究[MA]. 广东外语外贸大学硕士学位论文, 2015.<br /> [9]. 梁林歆，许明武. 国内外《浮生六记》英译研究：回顾与展望[J]. 外语教育研究，2017(4)：53-59.<br /> [10]. 李懿. 从归化和异化论林语堂《浮生六记》译本中文化词的翻译[J]. 英语广场·学术研究，2013(11)：43-44.<br /> [11]. 沈复. 《浮生六记》（双语版）[M]. 湖南：湖南文艺出版社，2019.<br /> [12]. 沈复. 《浮生六记》[M]. 浙江：浙江工商大学出版社，2018.<br /> [13]. 吴华玲. 林语堂中庸观在其译作中的审美再现——以林译《浮生六记》为例[J]. 云梦学刊，2010(3)：113-116.<br /> [14]. 王维维. 从形合与意合角度分析林语堂《浮生六记》译本[J]. 英语广场·学术研究, 2012(10)：46-47.<br /> [15]. 熊兵. 翻译研究中的概念混淆[J]. 中国翻译，2014(3)：82-88.<br /> [16]. 张南峰. 艾克拉西的文化专有项翻译策略评介[J]. 中国翻译，2004.<br /> [17]. 朱怡天. 《浮生六记》林语堂英译本中文化负载词的翻译[MA]. 上海外国语大学硕士学位论文, 2013.<br /> [18]. 翻译理论与翻译技巧论文集[C]. 北京：中国对外翻译出版公司选编，1983.<br /> <br /> ==How to keep &quot;Chineseness &quot; in Idiom Translation from Chinese to English 瞿淼 Qu Miao==<br /> <br /> 摘要：俗语是流传在人民群众口头上的，结构相对稳定的通俗语句，一般包括谚语、歇后语、惯用语和俗成语。汉语俗语承载着中国语言文化特色，蕴含着丰富的文化信息。在汉英俗语翻译中，因为汉语和英语属于不同的语言系统，并且文化差异较大，所以常常出现译文丢失了中国特色的情况。本文从归化和异化的角度，对比了分别使用归化和异化翻译方法的译文的效果，讨论汉英俗语翻译保持中国特色的方法，得出结论，在汉语俗语英译过程中应该采取异化为主，归化为辅，并结合注释的方法，以此来最大限度地保持俗语的中国特色。<br /> Abstract<br /> <br /> ==Translation of English Proverbs from the Perspective of Culture 韩海洋 Han Haiyang==<br /> <br /> ==='''Abstract'''===<br /> under the context of close communication between eastern and western countries, cultural influence now is increasingly enjoying more importance than before in language exchanging. As for translation of English proverbs, proper translation strategies should be considered in order to better understand their meaning and characters. By looking up thesis and documents, some translation strategies need to be concluded. In terms of cultural influence and social communication, foreignization and domestication are chosen in which the former is used more frequently that the latter. It arrives the conclusion that foreignization applied for translation of English proverbs is on the increase. <br /> <br /> ==='''Key Words'''===<br /> proverbs; culture; translation strategies<br /> <br /> ==='''摘要'''===<br /> 由于文化因素在不同语言之间的交流具有一定的影响，特别在中西方交往日益密切的背景下。为了更好的翻译英语谚语，使其达到应有预期效果，适当的翻译策略可以在翻译过程中更好地了解谚语的含义与特色。通过查阅资料和文献，总结出合适的翻译方法。根据现在的社会背景和文化影响，对于归化和异化两种方法，异化的选择得到了更多的倾向。在翻译的过程中，将文化因素考虑进去对于语言翻译上面，异化的趋势将会逐渐增大。<br /> <br /> ==='''关键词'''===<br /> 谚语; 文化; 翻译方法 <br /> <br /> ==='''Introduction'''===<br /> With the advent of 21th century, society has been changed in a wide scope, and shed light on the unparalleled interaction of culture and economy as most exemplified phenomenon happening everywhere. Translation is thereby a way to transfer from one culture to another, in which the effect of cultural background is behind language the essence of best fruit of translation. The history of translation has been lasted for a long time, for example when it comes to English proverbs, which can be traced to centuries ago, like Bible and works of Shakespeare. It is not rare to see that each country has its own unique culture, and under the cover abundant resources mirroring a country can be exploited. English proverbs as a product of culture the bridge for cultural exchange is been studied since centuries ago. The strategies of proverbs translation also have been experimentally discussed from time to time as the rapid development of culture and economy. Translation plays a key role in promoting a country’s own culture, because that is the way of importing and exporting knowledge of culture to another country. Proverbs is the product of culture that cannot be understood directly without any effort to digest it. So translation is needed, which could impose exotic flavors to new conception or understanding, but the premise is that translation is properly chosen in regard to nowadays strongly cultural promotion awareness.<br /> <br /> Usually proverbs are concise, concrete and pithy words which are rhythmed and organized for the sake of being simple to remember and spread to people. Proverbs are summarized by certain people from all walks of life in a specialized area, including eating habits, farming, belief, customs and so many. Proverbs composed of words the exact symbol of language, are named as the crystal of culture in a easily understandable way. Culture awareness is highly appreciated whatever it is developed country or developing country. For the fulfillment of translation of English proverbs, therefore this thesis aims to translate English proverbs with appropriate translation strategies-mainly foreignization and domestication from the perspective culture.<br /> <br /> ==='''Chapter 1 General Introduction to English proverbs'''===<br /> <br /> 1.1 Definition of Proverbs<br /> As far as history is concerned, proverbs can be dated back to the times that language is produced. According to Dictionary of Proverbs, proverbs are “a succinct and memorable statement that contains advice, a warning or a prediction, or an analytical observation”. Maybe the first definition is given by Socrates that a proverb is noted as brevity, philosophical tone, and common usage. In the 15th century, Michael Apostolius of Byzantium wrote, “A proverb is a statement which conceals the clear in the unclear, or which through concrete images indicates intellectual concepts, or which makes clear the truth in furtive fashion”(Honeck, 1997: 12). Champion (1966:xi) has claimed his idea “a proverb in my opinion is a racial aphorism which has been, or still is, in common use, conveying advice or counsel, invariably camouflaged figuratively, disguised in metaphor or allegory.” <br /> <br /> According to Mieder (1993), “A proverb is a short generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorable form and which is handed down from generation to generation”. <br /> Although definition is definitely different from one to another, one thing is for sure is that proverbs have been proved to exist for a long time. From all the above have been talked, proverbs can be boiled down to a simple, culture-loaded, and wide-circled saying enjoying great popularity throughout the whole country. Considering it that a majority of elements are included in proverbs, especially when it comes to perspective of culture, some feasible measures should be properly taken to handle it. <br /> <br /> 1.1.1 Origin of Proverbs from Abroad<br /> Proverbs are not come out from nowhere, and the amount and meaning of them do not stay the same eternally. As a rule, comparison between at home and abroad is always been found. From abroad, English proverbs could be seen in Bible, and works from Shakespeare and other fables. Part of old proverbs are stemmed from Bible, which largely related to God and so many fairy tales, or in other word like “God” or any related implication are sometimes recorded in proverbs. Like the famous one said: “man proposes, God disposes”, it shows that in western country people faithfully believe in God who is enshrined in most western religions, especially Christianity. .<br /> <br /> Except from Bible, in the times of Renaissance Shakespeare’s works can be found in which some proverbs are known from that time. For example, in Romeo and Juliet there is one sentence “a rose by any other means would smell as sweet”. It means that irrespective of how things’ names are changed, the essence embedded in them would still intact. Shakespeare is as one of the most brilliant play writers just on the behalf of renaissance period. There are still amounts of proverbs created by other scholars like Francis Bacon, John Milton and so on.<br /> <br /> 1.1.2 Origin of Proverbs at home<br /> <br /> In china, proverbs can be traced to Spring and Autumn periods. At that time, people mostly work at farm, so there are a lot of proverbs related to farming or country life. with Zuo’s Commentary( 左 传 ) deserves the first.(ibid,2003:31) In it, the Chinese proverb “山有木，工则度之；宾有礼，主则择之”has its track, and most of the proverbs mentioned in Zuo’s Commentary are from Zhou Dynasty as “Zhou proverbs”(周谚). Besides, terms like “Xia proverbs(夏谚)” can also be found in Mencius(孟子). Like the proverb “吾王不游，吾何以休？吾王不豫，吾何以助？一游一豫，为诸侯度”from Mencius, though have not been handed down, it is regarded as the earliest proverb that have been recorded (ibid,2003). Xia is an extremely ancient dynasty in Chinese history, as far as over 4,000years from today. So maybe proverbs are not as popular as today, they are definitely has records and can shed light on Chinese history.<br /> <br /> Proverbs in China are said to date back to as early as before the words came into being. People at that time did not pass down their knowledge and experience by writing, while they made it by speaking and saying in a simple and memorable way. With time moving forward, proverbs are gradually been regarded as important as written words which play a great role in future generation in dealing with culture and heritage. No matter what kind of proverbs are produced, from the historical evidence it can be observed that proverbs can across ocean and land, moving to another country, another culture domain. <br /> <br /> 1.2 Characteristics of Proverbs<br /> Proverbs are memorable, vivid words which are succinct and simple in form summarized by people from all walks of life. Both Chinese and English are bountiful in considering the thousands of proverbs have been recorded and there are still more proverbs to be created as time goes on. For the record, proverbs are not spoken at random and created at one’s free will. Some rules can be depended on, such as the lifestyle, living environment, education, social value, and so on. Take environment for example, the British lived near to ocean or sea, and therefore it is common to see proverbs related to sea spoken by English people “In a clam sea, every man is a pilot.”<br /> <br /> 1.2.1 Cultural Characteristics of Proverbs<br /> <br /> Broadly speaking, culture contains all the aspects of the society and gives its people ability viewing the world. Meanwhile, culture also can be regarded as a deciding element on distinguishing the difference from each country. It is no exaggeration to say that a country’s most standing heritage is its culture, which keeps changeable in line with the history. Although nowadays similarities of culture are seen more easily than ever before, the reason is under the influence of globalization-culture import and export take place here and there. The logic is culture formed from all walks of life, which means language is included, and proverbs are product of language. Therefore, proverbs carry characteristics of culture whatever the country is and how singular its culture is. Social customs is one of the big parts in a cultural society, there are some symbols or people are widely used in proverbs. Jack and Jill usually refer to man and woman in general such as: “every Jack has his Jill”. The counterpart in china is also easy to find. To name a few, there are more could be found in each cultural community. The next indispensable one is religion. It is well acknowledged that western countries like America and the UK, are religious countries, in which the words like: “God, devil, and church” are seen here and there. Like it has been said before, language is the product of culture, which contains every aspect of people’s life from individuality to the whole society. What is more, value concept is also included since it reflects how a country embodies its culture to the outside world. Giving respect for the aged in china is a necessary and ethic social value passed on and on for thousands of years. In Chinese, there is proverb saying that: “不听老人言，吃亏在眼前”. It means youth should listen to what the old men told you, or you will pay the price of what you have done. Instead, traditional values favor in masculinity, people think that men are superior to women and they have direct control over them. Ego and individuality in America is felt deeply, because they think that they are going to be successful by themselves from any given chance. They seldom make big achievement by working in group rather than enjoying doing it by their own hands. Proverbs like “near is my shirt, but near is my skin” is emphasizing that someone himself is more important than others. <br /> <br /> 1.2.2 Rhetorical Characteristics of Proverbs<br /> <br /> As proverbs express concrete meaning by only a few words, sometimes it has to apply some kind of rhetorical devices for perfectly presenting the delicacy of proverbs. Some meaningful proverbs are not understood directly by adding each word all together, however, it only can be realized by using proper rhetorical methods to give their deep meaning, in another word, connotative meaning. <br /> <br /> Simile is often seen in proverbs, and it usually compares one thing to another thing, in order to showing its vivid or obscure picture to receptor who may not understand directly from plain words. In sentences with simile, “like” and “as” are widely used for example, “March come in like a lion and goes out like a lamb”, and “time tries friend, as fire tries gold”. The former means that the changes of March is different from how it is coming and ending, and the latter means that friend like gold needs to be tested then you would find who is your real friend. Both of them impressively express the core meaning from unfamiliar thing or abstract thing to specific and easily understandable thing. Metaphor is seemingly like simile, but it is more implicitly explaining meaning than simile. Like “brevity is the soul of wit” and “an empty bag cannot stand upright”. The former means brevity is so important to wit like the soul of a person, the latter one translated in Chinese is “人是铁，饭是钢，一顿不吃饿的慌。” Hyperbole is a rhetoric that uses overstatement or obvious exaggeration to emphasize something, such as “Our life is but a span” and “An unfortunate man would drown in teacup”. The former means life lasts in a few times as short as span, which is obviously overstated. The latter means if a person is feeling unlucky at that day, whatever you do will bring bad lucky. Personification is the ability to endow common lifeless things with features of human-being. For instance, “Money is a good servant but a bad master”, and “fortunate knocks once at least at every man’s gate”. The former means money should be rationally handled or it may be a burden for you. The latter means everyone has a chance to be fortunate at least once.<br /> <br /> From all above have been discussed, they are just the most common figurative devices formed into proverbs. In terms of the function of rhetorical, proverbs can come into being in a simple, memorable form. It can be inferred that proverbs in a much degree use rhetorical to express refined and concrete meaning. Meanwhile it reflects the problem that when doing translation of proverbs, focus are more than just words themselves needed to be considered, as well as culture, form and connotative meaning. <br /> <br /> 1.3 Differences Between Proverbs and Maxims, Sayings, Idioms<br /> It seems that proverbs are looked the same as maxims, sayings, and idioms one way or another, but in fact there still exists some differences between them. For one thing, the existence of proverbs is across the whole world, therefore, no one can precisely calculate how many of them are recorded, and how many of them are still unknown to us. In terms of the number of proverbs is uncertain, so making a convincing definition is unrealistic, at least not perfect. If referring to it could be found that the definition in the dictionary is also easy to distinguish from each other. <br /> <br /> Some researchers disagree with each other on the definitions of these similar terms. Fergusson (1983) states some proverbs are simple folk sayings. Burton Stevenson (1987)’s idea about proverb is that― “A maxim is the sententious expression of some general truth or rule and it becomes a proverb when it gets its wings by winning popular acceptance.” Some scholars believe that sayings are one stream in the vast ocean of proverbs while others argue that proverbs should be included in the realm of sayings. In one source defining idioms and proverbs, NTC’s American Idioms Dictionary (1987) mention that ― “the idiom ‘a bird in the hand is worth two in the bush’ is a proverb meaning that something you already have is better than something you might get.” As for classifying maxims and proverbs, Cordry (1997) suggests that “one defines a maxim as a rule of conduct and a proverb as a comment or observation with regard to the universal experience of life, the distinction is not always clear.” And as given in Concise Oxford English-Chinese Dictionary (2003), saying is defined as “a maxim, proverb, adage, etc.” Even so, there must be some obvious features we could rely on to categorize them in general. It could be concluded that maxim and saying are mostly the expression of principle or behavior of man or the rules that summarized by famous writer or philosopher. Thus maxim and saying are seldom heard or seen except reading in the books and hearing from author himself. As a number of them are in a serious or form expression, there they are not as popular as proverbs which are created from daily experience by common people. In regard to idiom, its meaning is not the each word put together, but by understanding it form local people who made them and made it spread in his surrounding places. Idioms sometimes are not complete sentences but simple phrases. While, proverbs enjoy great popularity and are universally spread because of their concrete, succinct and vivid description. <br /> <br /> In conclusion, proverbs are prevalent in the world enjoying widespread social value and abundant sentence structures, but for sayings and maxims they are carrying the color of literature. Idioms have local color that is only understood within the same or similar speech community. With such understanding, it lays the foundation for researcher to better study and distinguish the distinctions form others. <br /> <br /> ==='''Chapter 2 Relation Between Culture and Proverbs Translation'''===<br /> <br /> 2.1 Definition of Culture<br /> <br /> As many scholars have been studied the definition culture, there have been existed sorts of definitions, in which they do not have big difference in one way or another. Culture is a general word that could take language, customs, religion, and others into account. One of the oldest and most quoted definitions of culture, which is frequently mentioned regardless of so many entries of definitions, was formulated by the 19th-century English anthropologist Edward Burnett Tylor in the first paragraph of his Primitive Culture (1871) as “Culture… is that complex whole which includes knowledge, belief, morals, custom, and any other capabilities and habits acquired by man as a member of society. …” (Katan,2004:16). While Nida, a famous linguistic and translation theorist, gives his definition of culture as “the totality of beliefs and practices of a society” in the book Language and Culture (2001:139) and as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression” by New mark given in his book of A Textbook of Translation (2001:94).<br /> <br /> From the mentioned above, culture includes every aspect of human life such as housing, transporting, communicating with people, recording of history and so on. Therefore, it is no exaggeration to say that proverb, or even language is a part of culture. Some scholar even put that language is the medium of culture, without language there may be no existence of culture. So the importance of culture cannot be ignored in order to better understand the deep meaning when studying proverb, a culture-loaded word, and more attention should be given to perspective of culture.<br /> <br /> 2.2 Language and Proverb<br /> <br /> It is no exaggeration to say that language is the product of culture since culture is culturally transmitted from the view of linguistics. Therefore, proverbs are composed of a set of words, which are selected from a particular language community. Take English and Chinese for example, they both represent their special culture and unique characteristics respectively. More importantly, proverbs are the crystal of language, which can be used as a convenient tool to understand different cultures for language is the bridge leading to culture.<br /> <br /> 2.3 Value and proverbs<br /> <br /> Value is associated with sorts of people’s live and is defined by these people living in a specific area. Value of appreciation on people is an obvious example that eastern and western countries have extreme angles on how to appraise a person. Tanned skin and jeans clothes are symbols as to select people whom they like more, but for eastern, white skin and Qipao maybe are thresholds for people to judge a person whether he or she is more stylish. Value of eating is still a big mark to differentiate race or natality. Cooked meal in china and salad in the west make the difference that eating habit is so little sameness on each other. There are still more, living environment and national policy if is related to country. All of them shape all kinds of values which are on behave of its countries or people. Like east or west, home is the best means “金窝，银窝，不如自己的狗窝.” Proverbs are not just created form nowhere but they are existed for ages and still available only if they are still reflecting meaningful viewpoints. <br /> <br /> Language is a part of culture and also at the same time a reflection of culture. Taking Chinese and English for example, they belong to different language families, therefore there exist some distinctions between them. Chinese people usually don’t say daring or family name directly, which is so different from western people who call their parents’ name and say sweet words without any concerning of awkwardness or shyness. It works to proverbs, and that is the social custom defining a society what is their core valve. <br /> As far as we know, social value between western country and eastern country are of great differences. In western country, self-awareness and individuality are mostly emphasized, but for eastern, more attention is given to collective wisdom and working in groups. Like Chinese proverbs “ 三个臭皮匠，顶个诸葛亮。”and in English proverbs such as “ God helps those who help themselves.” From above being said that it has a lot benefits to study proverbs to better understand culture and language.<br /> <br /> 2.4 Cultural Similarity on Chinese and English Proverbs<br /> <br /> Without any effort it can tell that Chinese and English are defined by different language families. Even so, Chinese and English proverbs shared some similarities in various ways, which are performed in different form and speech of proverbs. Because there exist universal truths and life styles, they are more or less understood by people from society to society. Like the truth of the universe in the definition of right and wrong and subjects including philosophy, math, chemistry, they are all developed separately in different areas but shared and summarized by all members form all the world. In this point, proverbs play the role in spreading some common knowledge and experience to the outside world, though forms are created by different society, they are carrying the same meaning or implying one way or another. Examples like “a snow year, a rich year(瑞雪兆丰年), strike while the iron is hot, and a neighbor is better than a distant cousin.” All of them are proved to share universal life experience and truth in the everyday life. Because people live under the same sky, sun, star, they go on making their living by hard working.<br /> <br /> It is no exaggeration to say that cultural exchanges are rapidly happening all over the word, and foreign culture may be assimilated by domestic culture or rejected by its opposite expression of culture. In this sense, we have same expressions in different ways of forms, like “情人眼里出西施” (Beauty is in the eyes of the beholder). They are describing the same thing but with different cultural background, therefore they sometimes have similarities in one way or another.<br /> <br /> 2.5 Cultural Difference in Chinese and English Proverbs<br /> <br /> Without a doubt that cultural similarities surely make translation easier in understanding foreign proverbs, but they are not silver bullets to taking all the proverbs into consideration. When it comes to separate boundaries which cut the Earth into serval parts, under this context, local culture will be formed and promoted in its own birth place. One of the most common features of culture is religion in western and eastern country, because western people have belief in God, Chinese people believe in Buddhism, which are of two great differences. That is the reason why in the process of translation, factor of culture has to be reckoned, especially in the new eras. <br /> As Nord have ever put forward in Translating as a Purposeful Activity that ―A culture-specific phenomenon is one that is found to exist in a particular form or function in only one of the two cultures being compared‘‘ (Nord,2001:34), therefore culture will be compared at a time when people have different perceptions on things, in which language would be the first. The grammatically sentence structure and the pronunciation for example, have little in common regarding they belong to different language family.<br /> <br /> Living environment is an element on deciding the formation of proverbs. Traditional Chinese people were busy doing farming, agriculture, so there are proverbs associated with them. Like “ 瓜熟蒂落” means things will be done when they are mature, and “人靠血样，苗考水活”means blood is a necessity for existence of human being as well as water to seedlings.” Moreover, a fruitful harvest is dependent on the weather, producing proverbs such as “三月三，著蓑衣，三月十五冷凄凄”, which means lunar early month has heavy and the middle is heavily cold. But for English proverbs, which are to a large extent related to fishery or marine affairs such as “to sink or swim”, “to keep one’s feet above water” and so many. Therefore both of the proverbs are created surrounding environment. <br /> <br /> Except for living environment, living customs are also reflected on formation of proverbs. In different communities, people have different perception of things like animals. In Chinese proverbs, “杀鸡取卵” which equals to “kill the goose that lays golden eggs”, in which different animals are choose represent local customs. English proverbs would say that “look for a needle in a haystack”, which has a Chinese counterpart as “大海捞针”. It means that doing something is as difficult as finding out a small piece in an immerse container. Dog is also a featured sign that stand for different views in Chinese and English proverbs. In China, although dog is loyal to his master, it always leaves unrespectable impression on people, on the contrary, English love dogs and cherishes them so much sometimes even more than their family. <br /> Different cultural heritage and religious beliefs are also play a key role in the formation of proverbs. It is not hard to refer that understanding proverbs on the bases of translation is convenient for study foreign culture. With all the differences and sameness, within the range of translation, culture is a must during translation <br /> <br /> ==='''Chapter 3 Translation Strategies for English Proverbs'''===<br /> <br /> Translation strategies have long been studied for a long time, during that time, domestication and foreignization have been considered as dominating strategies that were applied by a lot of scholars. Cross-culture exchange has gained great trend, especially in those years global communication between countries develops rapidly. It is true that here exists another method like “functional equivalent” created by famous scholar Eugene Nida who claims that in the process of translation source text and target text are both considered as author and reader are separated by the language or culture. The best function of translation is aiming to make source text as readable as reader-oriented text, which is popular in centuries ago in the era of underdeveloped cultural exchanges. In Chinese culture, the history of translation can also be traced to hundreds of years ago, some brilliant point of view like “信，达，雅”by Yan Fu, then it was changed into “信，达，切”by Liu Chongde. It means that translated text in which the flavor of text should be close to its original color of its culture. Taking what translation strategies into consideration should comply with the trend of culture exchange and its development. <br /> <br /> 3.1 Domestication and Foreignization<br /> <br /> Domestication is a target language oriented translation device, which is to change the flavor into reader’s meet. It is compatible with the taste of people who think their country is strong enough to set international standard and in which all other countries will prepare for the transmission of culture. It is the assimilation that causes translator to change resource text into native flavor. But for this phenomenon, the reason is that people’s recognition is limited and their hold self-importance to the most, therefore, everything from outside will be transmitted into domestic flavor. As communication of culture and technology grows rapidly and each country would like to strengthen its comprehensive power by take into foreign culture. As for translation strategies, which are still be reckoned which one should be adapted. Foreignization is a source language oriented translation device, which is to change the flavor into author’s meet. The roots of the terms “domestication” and “foreignization” can be traced back to the German philosopher Schleiermacher‘s argument in 1813 in a lecture on the different methods of translation, he found only two methods of affecting the domestic reader‘s understanding of the foreign author, “Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Venuti, 2004:19-20).<br /> <br /> In China, some scholars also have put forward their own opinions about the definitions of domestication and foreign. Among them, Lu Xun’s opinion is famous. He claimed that domestication was as “rewriting, changing the foreign story into Chinese story and changing the foreigners into Chinese” (罗新璋,1984:301), while foreign was “translation is like going abroad traveling, it must reflect the scene and flavor of the foreign country concerned.”(ibid,1984:301) <br /> Expect the definition of domestication and foreignization, translator when doing the work of translation should consider the perspective of culture and the intention of the writer as well as reader whether they want to the culture of source text to be originally intact or changed into readers’ culture.<br /> <br /> 3.2 Foreignization over Domestication for Translation<br /> <br /> As far as social development is concerned, cultural exchange is more frequent than now or ever. In previous centuries, domestication is always been advocated by Chinese and western translators, as the exchange of economy and culture is not as common as today. Countries blindly think themselves as the leading one, so naturally take translated text as a respect from other countries. In translated works, any trace of alien culture is eliminated, in favor of own country’s culture to be admired and promoted. The awareness of culture is not developed people only unconsciously find that in their mind anything enters into their country is no foreign at all, because every product from aboard will be transferred into familiarly native fruit with sense of closeness. In another way, people at that time are barely having the chance to access to education, in particular for poor family most of them are illiterate. It is without saying that no room is left for people in their countries to study culture abroad while native culture still did not gain completely popularity. From the above being mentioned, at an early age, domestication has upper hand indeed. So in choosing translation strategies, it is no doubt that it should be domestication centered. <br /> <br /> For another thing, as technology and economy develop from nowhere, cultural exchange between countries has witnessed great changes in the past decades. In highly developed areas, people in their countries universally receive full education in which their counties’ historical culture has been deeply absorbed. So, in the process of translation, foreign culture as novel things fulling with exotic flavor has attracted people a lot to see the differences and experience a foreign journey. The untouchable place of domestication did not enjoy its popularity an anymore for its limitation of spreading of foreign culture. Therefore, foreignization became more and more important as translation tool in the view of people’s eye. It not only translated the original foreign text into native character, but also carried the foreign special into domestic text. Take china for example, although as a developing country in the Asian, china has so much say in the stage of the world in the aspect of culture and world peace. Language as the bridge of communication, have to be understood by others in the way of translation. In one way or another, domestication and foreignization can both play the role in the translation, but from the perspective of culture, foreignization seems to weigh more in nowadays choosing translation strategies.<br />  <br /> ==='''Conclusion'''===<br /> <br /> Proverbs are culture-loaded words that has been transmitted and renewed from generation to generation as well as the changes of different eras. As a part of language and the product of culture, it is no exception that proverbs can be a medium, which offer the opportunity to learn language and culture. With the advent of new technology and wide economic communication, translation is playing an indispensable role in this process. Proper translation strategies are essential that whether foreign culture should be taken into consideration since it stands as the soft strength of a country. By considering this, foreignization has more superiority when compared with domestication. Foreignization as a trend translation, keeping the original culture intact to target readers, meanwhile can enrich a native country’s culture and expand vocabulary. There is no doubt that domestication is not totally worthless, regarding proverbs has multiple varieties, which cannot be translated simply by foreignization, therefore domestication is worked as supplementary tool assisting foreignization in translation. <br /> <br /> Foreignization leaves the culture of source text untouched, wishing to give target reader exotic environment where readers experience different aspects of culture, like religion, belief, custom and others.<br /> <br /> In the end, as cultural development and social progress is moving forward, foreignization has more advantages than domestication.<br />  <br /> ==='''Bibliography'''===<br /> [1] 边晓霏. 从文化视角探究谚语翻译[MA]. 保定:河北大学, 2013.<br /> [2] 陈金诗. 英汉谚语的特征与翻译[D]. 武汉:中南民族大学, 2006.<br /> [3] 董晶,刘亚楼.英语谚语的文化内涵与翻译方法[J]. 河北联合大学学报(社科<br /> 版),2015,(1): p: 100-103.<br /> [4] 付艳丽. 跨文化语境下英语谚语翻译的意蕴与特征表达[J]. 济南职业学院学报, 2016,(4): p: 90-91.<br /> [5] 丁敏. 从文化视角看英语谚语的翻译[D]. 西安:西安外国语大学, 2014.<br /> [6] 郭敏. 英汉谚语中的文化差异及其翻译[D]. 重庆:西南大学, 2008.<br /> [7] 韩娇阳. 从谚语英汉互译中看文化缺省及其补偿策略[D]. 长春:吉林大学,2009.<br /> [8] 陆道恩.文化视角下英语谚语的翻译技巧[J]. 高教学刊, 2015, (24): P:257-258.<br /> [9] 李克时. 论英语谚语汉译的异化趋势[MA]. 南京:南京农业大学,2009.<br /> [10] 刘卫平. 文化视角下的美国谚语翻译[D]. 桂林:广西师范大学, 2008.<br /> [11] Li, H. A Study of Film Subtitle Translation from the Perspective of Domestication and Foreignization[MA]. Shenyang: Liaoning University, 2012.<br /> [12] Mo, L, H. A Study on Chinese and English Proverbs about Marriage from the Perspective of Contrastive Linguistics[MA]. Nanning: Guangxi University, 2014.<br /> [13] Mao, Q. A Study on the Proverbs in Shakespeare’s Play in Their Chinese Translations in the Perspective of Conceptual Metaphor[MA]. Guilin: Guangxi Normal Univeristy, 2017.<br /> [14] You, X, J. A Contrastive Study On Hypotaxis and Parataxis in English and Chinese and Its Influence on the Chinese-English Translation of Ancient Fables[D]. Suzhou: Suzhou University, 2009.<br /> [15] Zhao, C, H. A Study on Proverb Translation from Cross-Cultural Perspective[D].<br /> Changchun:Jilin University, 2012.<br /> <br /> ==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory 刘金惺琦 liu jinxingqi==<br /> <br /> ==Translation of Chinese Neologisms from the Perspective of Cross-cultural Translation Theory ==<br /> &lt;center&gt;解帆 Xie Fan&lt;/center&gt;<br /> <br /> ==='''Abstract'''===<br /> With the continuous enhancement of China's overall national strength and international influence, Chinese is playing an increasingly important role in communications and exchanges among countries all over the world. An increasing number of Chinese neologisms are used to express and describe the status quo. These neologisms invigorate Chinese culture, however, meanwhile, they make it harder for the world to understand Chinese. <br /> <br /> On the one hand, each language has its own uniqueness in terms of word construction and expression. In reality, there are no two completely equivalent sign systems. On the other hand, different ethnic groups have different historical traditions, religious beliefs and way of thinking, which increases the difficulty of understanding. Therefore, cross-cultural translation becomes indispensable in popularizing Chinese culture. Through reviewing relevant paper, it’s easy to find that the late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. Previous articles have pointed out these problems, but how to improve the quality of translation by avoiding them hasn’t been mentioned. This paper introduces the classifications and characteristics of Chinese neologisms, explains the significance of cross-translation theory to Chinese neologisms translation, and discusses ways of translating Chinese neologisms based on the previous viewpoints combining with examples.<br /> <br /> ==='''Key words'''===<br /> Chinese neologisms; cross-cultural theory; English translation; strategies<br /> <br /> ==='''摘要'''===<br /> 随着我国综合国力和国际影响力不断增强，汉语在世界各国沟通与交流中起到越来越重要的作用，用来表达和描述社会状态的汉语新词也日益增多。这些新词给中国文化带来生命力的同时，也给世界人民理解汉语带来了困难。<br /> <br /> 一方面，语言本身存在着不可译性，每种语言在其组词造句、表达方式上都具有其独特性，现实中并不存在两种完全对等的符号系统。另一方面，不同的民族有着不同的历史传统、宗教信仰、思维方式，这尤其增加了语言理解的难度。因此，跨文化翻译成为中华文化传播过程中的重要一环。通过翻阅相关资料，不难发现由于汉语新词的英译起步较晚，国内外相关翻译研究尚未成熟，因此在英译汉语新词的过程中出现了一些问题。前人已有相关文章指出过这些问题，但没有提出如何才能避免这种问题、提高译文质量。基于前人的相关理论和观点，并结合实例，本文将首先介绍汉语新词分类及其特点，然后说明跨文化翻译理论对于英译汉语新词的意义，最后介绍在跨文化翻译理论下英译汉语新词时的几种方法，希望为后续规范汉语新词英译行为提供必要参考。<br /> <br /> ==='''关键词'''===<br /> 汉语新词；跨文化翻译；英译；策略<br /> <br /> ==='''Introduction'''===<br /> With the growing power of China and the further improvement of the globalization, China's contact with other countries in the world has become closer. And how to maintain Chinese culture’s uniqueness when it is introduced to the world has been the top priority for translators. The development of China has given birth to a large number of Chinese neologisms with its uniqueness. The society changes with each passing day, covering from international affairs to domestic matters. Against this background, neologisms are likely to be derived. These words attract widespread attention and gradually enter people's daily life. Since the implementation of the reform and opening up to the outside world, a great number of Chinese neologisms have appeared. <br /> <br /> Not only do these neologisms with Chinese characteristics vividly show Chinese people’s understanding of their unique phenomena, but also they largely enrich the expression of Chinese. However, at the same time, these words pose serious problems for translators as well. On the one hand, the differences between Chinese culture and western countries’ culture are numerous, which makes it hard to find equivalent of Chinese neologisms in English. On the other hand, with the times going forward, the number of Chinese neologisms is steadily increasing, which results in difficulties in translating Chinese neologisms into English. Therefore, Cross-cultural translation of Chinese neologisms into English becomes prevailing. Cross-cultural translation theory was proposed by Mary Snell Hornby in her well-known representative book Translation Studies: an Integrated Approach. She believes that translation is not a process of decoding or the transformation of language symbols, but also the transformation of cultural patterns. Due to the rapid development of Chinese society in the past decade, more and more translators have turned to Chinese neologisms, making the study of English translation of Chinese neologisms a new focus. Chinese Translators Journal, Lexicographical Studies and other authoritative academic journals have set up columns for translation of Chinese neologism. There are also vocabulary books compiled according to the specific types of Chinese neologisms, such as Chinese-English Expressions of Current Events by Yang Quanhong and English Translation of Buzzwords and Sayings by Chen Dezhang. In addition, the most representative ones include Yang Quanhong's Approaches to Translation of Chinese Words and Expressions into English and Zhang Jian's On Translation of Chinese Press Neologisms into English. In the age of information, it is not hard to find English translation of Chinese neologisms on English learning websites such as https://www.chinadaily.com.cn/, https://www.en84.com/ and so on. These websites have launched platforms for English translation of Chinese neologisms and updated them timely. So far, scholars have studied Chinese neologism from different perspectives. This paper is based on 138 related articles including these key words such as “cross-cultural theory” “Chinese neologisms” and “English translation” on http://kns.cnki.net. Fu Rong narrated the difficulties and methods in The English Translation of Chinese Neologism from a Cross-cultural Perspective. Zhou Hongjie elaborated on the basic principles, methods and key points in The English Translation of Chinese neologisms from a Cross-cultural Perspective. In addition, a majority of articles analyzed the status quo in the English translation of Chinese neologisms from the perspective of cross-cultural translation theory, but few dwell on strategies of solving the problems during the course of translation. This paper introduces Chinese neologisms and its classifications and characteristic in the second section, the significance of cross-translation to Chinese neologisms in the third section and ways of translating in the fourth section. It is based on the previous viewpoints and puts forward practical strategies to be followed in the translation of Chinese neologisms from the perspective of cross-translation theory combining with examples.<br /> <br /> ===Chapter 1 Overview of Chinese Neologisms===<br /> <br /> Neologisms are words new in connotation or form. In other words, they can either be new words created to express new concepts and phenomena in line with times or existing words given new meanings. These words help the further development of language, embody Chinese people's latest understanding of the world with the times going forward, and enrich the expression and promote transmission of Chinese language. (Fu Rong, 2015: 80) To better translate Chinese neologisms into English, we need to have a deeper understanding of Chinese neologisms, including its classifications and characteristics.<br /> <br /> 1.1 Classifications of Chinese Neologisms<br /> <br /> Generally speaking, Chinese neologisms can be classified into four categories, namely, old words endowed with new meanings, Chinese abbreviations, newly generated words and loan words.<br /> <br /> Old words endowed with new meanings, as the name suggests, are existent words that have been endowed with new meanings for reuse even though have been forgotten for a long time. (Li Chunjiang, 2015: 62) Take “备胎(spare tire)”as an example, which refers to an extra tire carried in a motor vehicle for emergencies. It now refers to a back-up, second line, just-in-case, or a B-plan or contingency, in other words, someone who is benched now. Besides, “粉(powder)”originally refers to fine powder used for makeup or paint, while it means having a crush on or adoring a famous celebrity now. With the changing society of China, the essential characteristics of the things or phenomena referred to by the old words have changed as well. Because of the uniqueness pf Chinese words, it may be defective to use substitute words and fail to reflect the pun. Not only does endowing the existing words with new meanings produce connection between old words and new meanings, but also reduces the trouble of creating new words.<br /> <br /> Chinese abbreviations are the result of refining existing words. The process of extracting mainly depends on the importance of each part of the words. Those significant parts are selected to replace the lengthy words. The most common Chinese abbreviations can be divided into three forms. First, extracted initials. Such as “哥哥(brother)--GG”, “笑死我了(It’s so funny that I have a shortness of breathe)” and “漂亮小姐姐(good-looking sister)--PLXJJ”. Second, syllable imitation. Such as “呜呜呜 (onomatopoetic words of cry)--555”, “我爱你一生一世(I love you forever)--5201314” and “不要这样子(don’t do like this)--表酱紫”. Third: reduced words. Such as “很累，感觉不会再爱了(feel so tired that will not fall in love again)--累感不爱” and “躺着也中枪(a lying person can be shot as well)--躺枪”. Chinese abbreviations have their own laws of forming, so it is easy for us to understand as long as we recognize the laws of them. Besides, in the premise of reflecting the principle of simplicity and the purpose of economy frugality, Chinese abbreviations are helpful to ensure goog rationale and high semantic transparency. Nowadays, people are always pursing a simple and peaceful life, which gives rise to the frequent use of abbreviations. Nevertheless, the abbreviations of words should neither be arbitrarily imitated, nor be simply carried out by way of analogy. Instead, the abbreviations with the widest social acceptance should be selected through investigation and evidence collection from multiple aspects.<br /> <br /> Newly generated words can be roughly divided into two types. The first is generated through metaphors, similes and metonymy. For instance, “虎妈(tiger mom) is defined as strict disciplinarian mothers who demand high achievement from their children and maintain control of their activities”, and“猫爸(cat dad)”refers to fathers who take a more softly approach to parenting, preferring to be emotionally sensitive, gentle and relaxed about rules and discipline, and they are in the belief that this kind of parenting will make their offspring self-sufficient and independent. With new things coming in, people need words to describe them but there are no ready expressions at hand. The metaphorical use of some expressions will do the job as it will reflect the same essence of the objects through metaphor. The second type is created with the arrival of new phenomenon. For instance, “APEC蓝” is employed to describe the quality air and the exceptionally blue sky in Beijing during the APEC meeting in 2014. And “蒜你狠”is used to illustrate the price of garlic which soared more than 100 times in 2010, even outstripping meat and eggs. A great number of new phenomena and new concepts spring up, however, it’s hard to describe them with the existing words. Under this circumstance, the vocabulary system needs to produce more new words to meet the requirements of social communication.<br /> <br /> The advancement of globalization, communication and cooperation in some fields among countries are deepening day by day, which inevitably bring changes in language, and that is so-called “Chinese localization”. Loan words are “transformed” into Chinese words in accordance with the rules of pronunciation, semantics, structure and grammatical system of Chinese. In the mid-1970s, Taiwanese used “show--秀” as morphemes to match with &quot;做&quot; and &quot;作&quot;. To the surprise of the editor, these newly created words were so well-received in the entertainment industry that a large number of words such as “歌舞秀、双人秀、真人秀、脱口秀”were produced. Nowadays, the neologism “秀儿” referring to those who like to show off their resources is widely accepted. Similarly, “博客、思客、播客、朋客、创客”appeared one by one. “客” was derived from “黑客(hacker)”, in other words, the word group of “X客” were generated. <br /> <br /> 1.2 Characteristics of Chinese Neologisms<br /> <br /> In order to have better quality of translation of Chinese neologisms, translators need to have a deep insight into its characteristics. Chinese neologisms are characterized by cultural uniqueness, simplicity, vividness and uncertainty.<br /> <br /> Chinese neologisms come from a wide range of sources, but they all have roots in China. Some are based on Chinese culture. For instance, “山寨(mountain fastness)”originated from Water Margin, which used to refer to the place where the poor live. But when used online, the original meaning is transformed to plagiarism, imitation, parody and other popular cultural phenomena. Others are on the basis of customs. Take “红色炸弹(red bomb)” as an example. Since Chinese traditional wedding ornament is red, the word &quot;红色炸弹(red bomb)&quot; is used to describe the overwhelming wedding invitations. <br /> <br /> We are living in a fast-paced era. The speed of generation and transmission of information are accelerating. Under this situation, we crave for cost-effective communication. This status quo requires concise language. Chinese abbreviations exactly exemplify the simplicity. Abbreviations are condensed with rich information content, and effectively reinforce the expressiveness of Chinese vocabulary. Therefore, the number of abbreviations in vocabulary increases rapidly.<br /> <br /> The appearance of Chinese neologisms meets people's needs to describe an object or a phenomenon more vividly. Such as “人艰不拆” means that since life has been so hard, some things should not be exposed. And “酸菜鱼”is used for persons who are jealous, ugly, and redundant to make fun of themselves. “剁手党”refers to the addicted shopping crowd. They buy countless things, but often regret after calming down, even vow to chop off their hands if they don't act rationally next time. The vividness of Chinese neologisms adds humorous effects to the expression.<br /> <br /> With the crazy tempo of life, Chinese neologisms emerge in an endless stream. For one thing, with the increasing influence of network to people's life, online language is a shock to traditional language since many words are not compatible with Chinese language system. For another, neologisms fade away with the end of an event and are quickly replaced by neologisms with the times.<br /> <br /> ===Chapter 2 Cross-cultural Translation Theory and Its Significance===<br /> <br /> As Chinese neologisms are rooted in Chinese culture, translators are supposed to turn to cross-cultural translation theory when translating Chinese neologisms into English. Hence, having a deep insight into it and its significance helps improve the quality of translation.<br /> <br /> 2.1 Hornby’s Cross-cultural Translation Theory<br /> <br /> Cross-cultural translation theory refers to translation across cultural divide and be less influenced by factors such as politics, religions, regions and ideologies. Cross-cultural translation theory was put forward by German translation theorist Mary Snell-Hornby. From her perspective, translation is a kind of cross-cultural communication. In this way, translators should not only have a bilingual ability, but also the cultural backgrounds of the source language and the target language. In reality, there are no two completely equivalent language systems. Each language has its own uniqueness in terms of word formation, sentence construction and expression, which is even more distinctive in translating into the target language with totally different economic, political, social and cultural backgrounds. Therefore, cross-cultural translation becomes a rigid demand. In the process of cross-cultural translation, translators are supposed to strike a balance between Chinese style and maximize the recipients’ understanding and acceptances’ of Chinese culture. Mary Snell-Hornby proposed that translators should skillfully switch the two languages in the process of translation as well as deeply dig into the culture backgrounds behind the two languages. In other words, translation is more bicultural transformation than bilingual transformation. (Wang Weidong, 2011: 78).<br /> <br /> In the process of translation, the cultural deposits have a direct bearing on the expression of words, its connotations and emotions. Hence, translators must take these factors into consideration in translation. Cross-cultural translation theory has the following requirements for translation, which can be divided into three aspects: first, to express the meaning of the source language. Second, to dig out the cultural connotation of the source language. Third, to convey the emotion of the source language. Only when translator meets the three requirements above can the quality of the translation be guaranteed.<br /> <br /> 2.2 Significance of Cross-cultural Translation Theory<br /> <br /> The significance of Cross-cultural Theory to English Translation of Chinese Neologisms can be divided into the following three aspects. The British historian Dr. Toynbee once said, it is not surprising to say that the 21st century belongs to East Asia led by China for China’s control over East Asia is not merely political, but cultural. Though East Asian countries such as Korea and Japan maintain their political independence, they are strongly influenced by Chinese culture.” Therefore, promoting English translation of Chinese neologisms is very important for enriching the world language system, improving China’s soft power and introducing Chinese culture into the world.<br /> <br /> 2.2.1 Learning the Chinese Idiomatic Expression<br /> <br /> Translators can learn the rules of Chinese word-formation and characteristics of Chinese expression in the process of translating from the perspective of cross-cultural translation theory. There are great differences between Chinese and English word-formations. Take the three main forms of Chinese neologisms as example. Subject-predicate forms, such as “私聊” and“群聊”; Verb-object forms, such as: “煞风景”“抬杠”; Complementary forms, such as: “吓尿”and so on. In English vocabulary system, most compound words are in the form of nouns, while Chinese has a variety of parts, such as verbs, nouns and adjectives. Translators can grasp the characteristics of Chinese word-formation through the translation and readers can understand the Chinese idiomatic expression. <br /> <br /> 2.2.2 Spreading Chinese Culture Contained in Chinese Neologisms<br /> <br /> Chinese neologisms are produced in China’s distinctive environment, containing culture with Chinese characteristics. It is an effective way to spread Chinese culture contained in Chinese neologisms through cross-cultural translation. For example, “打虎” and “拍蝇” have become buzzwords in China these years. In fact, both above two neologisms are political terms. The “tigers” refer to corrupt officials at higher level and “flies” at grassroots level. Chinese neologisms are epitomes of China's development in a certain period, carrying much social information. The world can learn about the development of China through Chinese neologisms. Accordingly, determination of Chinese government to take out “tigers” and swat “flies” can be seen through these coinage of new terms such as “打虎” and “拍蝇”. Therefore, cross-cultural translation helps spread Chinese culture contained in Chinese neologisms.<br /> <br /> 2.2.3 Conveying Emotion Expressed by Chinese Neologisms<br /> <br /> Emotional expressions are essential to translation of Chinese neologisms. Translation of Chinese neologisms from the perspective of cross-cultural translation theory helps to convey emotion expressed. For example, it is not proper to translate“和事佬”into“peacemaker”. In Chinese, “和事佬”refers to persons who are unprincipled and blindly promote reconciliations, with derogatory meaning. While in English, “peacemaker” refers to those who create and safeguard peace, with commendatory emotions. Therefore, if the cross-cultural principles are violated in translation, there will be differences in the expression of emotions, which will hinder the expression of real emotions and lead to misunderstanding.<br /> <br /> ===Chapter 3 Methods of Chinese Neologisms Translation===<br /> <br /> To improve the quality of Chinese neologisms translation, translators need to have a full knowledge of problems existing in the process of the translation of Chinese neologisms, and then avoid them by choosing appropriate ways of translating and following principles of cross-cultural translation theory.<br /> The late start of English translation of Chinese neologisms results in the immature translation of Chinese neologisms both at home and abroad, with some problems existing in the process of the translation of Chinese neologisms. <br /> <br /> Nowadays, it is common to see rigid translation, which leads to failure to convey its true meaning. For example, if “我好方”is translated into “I’m so square”, it will confuse readers. In fact, this neologism refers to people in panic. As its word “方”pronounces similarly to the word “慌”，it is employed to make fun of those who can't distinguish between “f”sound and “h” sound. Similarly, “蓝瘦，香菇” can’t be translated into “blue monsters and shiitake mushrooms” for it refers to “I’m so sad that I’m going to cry”. Hence, rigid translation will result in misunderstanding. Not only should we make translations interesting, but also we need to ensure they are correct.<br /> <br /> Many Chinese neologisms, after being translated into English, can express their meanings accurately, though fairly lengthy. For instance, if“无语”is translated into “have nothing to say”, it seems a little bit lengthy. We can translate it into“speechless”, instead. When translating Chinese neologisms, translators are supposed to use as few words as possible to accurately convey as much information as possible, making readers spend as little time as possible to understand them.<br /> <br /> Till now, many neologisms lack Chinese uniqueness after being translated into English. For example, “杠精”will lose the uniqueness the word“精”carries if it is translated into“argumentative person”. In China, “精”commonly describe demons and ghosts, with derogatory meaning, such as those used in“白骨精”“蜘蛛精”and“蜈蚣精”. In this case, it is not proper to translate“精”into “person”. Therefore, we need to ensure Chinese culture be spread in the process of translation.<br /> <br /> 3.1 Transliteration<br /> <br /> Transliteration is the translation of Chinese neologisms into English which sounds similarly to Chinese. Transliteration of Chinese neologisms into English can fully retain the pronunciation of Chinese and traditional Chinese culture. What’s more, it is more efficient.<br /> <br /> Zeng Lisa once proposed that translators should accurately convey more information with as few words as possible, so that the audience can obtain the clearest and smoothest information with as little time as possible. Transliteration gives priority to efficiency and can meet the requirements of the fast pace of modern society, improve the communicative efficiency of readers, and save space for readers' cognitive ability to play. <br /> <br /> For example, &quot;大妈&quot; is transliterated into &quot;dama&quot; and entered the Oxford dictionary. In addition to this, there are a sea of transliterations of Chinese neologisms in modern English vocabulary, for example: &quot;风水&quot; (fengshui), &quot;八卦&quot; (bagua), &quot;太极&quot; (taichi), &quot;气功&quot; (qigong), and &quot;武术 &quot;(wushu), &quot;功夫&quot; (kungfu), &quot;胡同&quot; (hutong), &quot;麻将&quot; (mahjong), &quot;叩头&quot; (while), and so on. Transliteration makes Chinese neologisms widely spread and its culture behind. However, if translators stick to the literal interpretation or explanatory translation of some words, it may lead to cumbersome words and poor quality. <br /> <br /> 3.2 Literal Translation<br /> <br /> Literal translation is one of the efficient way of translation. Literal translation enables us to directly find equivalent expressions in English in terms of form, style and connotation, which is the perfect embodiment of &quot;commonness&quot; between English and Chinese. Above all, literal translation helps promote Chinese culture.<br /> <br /> Language carries and transmits culture, as it is the heart of the cultural system. Culture influences and even shapes language, which is the foundation of language and the source of innovation. In the current context of cross-cultural communication, translation is not only a process of language conversion, but also a process of cultural transplantation.The transmission between eastern and western cultures is practical in theology, but it is limited in reality. Chinese neologisms are the most active part of Chinese vocabulary, which reflect the way of thinking, values, customs and lifestyles formed by the Chinese people in the new natural and social environment. Therefore, literal translation works for spreading Chinese culture. <br /> <br /> In modern English, examples of literal translation of Chinese neologisms can be found everywhere, such as “一国两制--one country, two systems”, “二孩政策--two-child policy”, “希望工程--Hope Project” and “好久不见long time no see” and so on. Literal translation is straightforward, concise and efficient. Not only can it effectively reduce the boredom caused by the transformation from Chinese to English, enrich the expressiveness of English, but also maximize the retention of Chinese cultural.<br /> <br /> Therefore, it is necessary to interpret or add annotations in the context, otherwise it is difficult to convey its Chinese characteristics and cultural connotation.<br /> <br /> 3.3 Free Translation<br /> <br /> Free translation is another way of translating, which emphasizes the relative independence of both Chinese and English. On the one hand, differences exist in different language systems including grammatical constructions and expressions. On the other hand, there are quite a few distinctions between different cultures including historical traditions, religious beliefs and even ways of thinking, ways of thinking. Therefore, sometimes free translation is required to avoid misunderstanding and disputes.<br /> <br /> Free translation refers to reproduce the matter without the manner, or, the content without form. Put another way, it explains the general idea of Chinese neologisms. For example, “豆腐渣工程” refers to the construction project that collapsed or did not comply with relevant regulations due to cutting corners in the construction process. It is translated into English as “jerry-built project”. “白色污染”, the pollution of the environment by plastic waste that is difficult to degrade, is translated as “plastic pollution”. In a word, although the paraphrased neologisms need not strictly stick to Chinese, it can better reflect the meaning of Chinese.<br /> <br /> ==='''Conclusion'''===<br /> <br /> The emergence of Chinese neologisms demonstrates a new face of China. Neologisms are new in content, form, and content, which are produced to express new concepts and phenomena. However, due to the obvious cultural differences between China and western countries, there are many obstacles in the course of translating Chinese neologisms into English. Neologisms are perhaps the number one problem for non-literary translators and professional translators. Under this circumstance, cross-cultural translation of Chinese neologisms becomes a prevailing trend. Cross-cultural translation refers to translating crossing cultural divide and being less influenced by factors such as politics, religions, regions and ideologies. In a way, translating Chinese neologisms into English from the perspective of cross-cultural translation theory can help to promote understanding of Chinese. In another, it can effectively convey the emotions expressed by neologisms. Moreover, it can help to promote the spread of Chinese culture. In spite of the continuous standardization and improvement of translation, there are still some problems in the process of translating Chinese neologisms into English, such as rigid translation, wordy translation and translation with cultural loss. English translation of Chinese neologisms may be a daunting problem, so we need translators with joint efforts, both stick to effective translation methods, flexible and innovative, and latest changes, in order to improve the overall quality of translation of Chinese neologisms, thus speak up aloud in the international community. In this paper, three main strategies are suggested, and they are transliteration, literal translation, and free translation. To better translate Chinese neologisms from the perspective of cross-cultural translation theory, translators need to adopt compatible ways of translating with different types of Chinese neologisms and target readers. On the one hand, it is necessary to fully grasp Chinese neologisms, which requires translators to have more knowledge of Chinese cultural background and Chinese idiomatic expression. On the other hand, we should find the way of translating which is most accepted by readers. <br /> <br /> Moreover, Chinese neologisms are constantly updated with the development of the society. If we do not keep pace with the times and know the latest meaning of Chinese neologisms, it may lead to misunderstanding. (Tian Longjiao, 2013: 160) Therefore, translators should constantly supplement, update or revise the English translation of those Chinese neologisms without definite translation, which is an important guarantee to keep the English translation of Chinese neologisms accurate. Advancing with the times often requires translators to pay close attention to the post-translation effect. On the other hand, translators should also constantly draw on new English words. Chinese neologisms have strong timeliness, especially with the increase of Internet users, hence, at any one time emerge Chinese neologisms which are closely associated with the society. In short, in the process of translation, translators must pay attention to riding on the trend of the times so as to update the expression of the target language and readily accepted by readers. Update expressions means keeping up with the development of the times and use idiomatic English to illustrate new things, new words and new expressions. <br /> In other words, on the basis of grasping the exact meaning of Chinese neologisms, we should make it understood in English. Translators should not only improve their ability to understand Chinese, enhance their ability to translate Chinese into English, but also be keeping with the times so as to introduce more Chinese neologisms into English and continuously inject more Chinese elements into English. In this way, Chinese culture can be spread and the expression of English can be innovated.<br /> <br /> ==='''References'''===<br /> <br /> [1]Baker Mona. In Other Words: A Coursebook on Translation [M]. London/New York: Routledge, 1992.<br /> [2] Jing Huang. Study on the Influence of Cultural Construction and Cultural Deficiency on English Translation[A].He Nan: Proceedings of 2019 International Conference on Humanities,Cultures,Arts and Design, 2019.<br /> [3] Kata. An introduction for translators, interpreters and mediators. [D].Manchester: St Jerome, 2004.<br /> [4] Min Deng. Cultural Differences between Chinese and English Color Words and Their Translation[A].Hong Kong: Proceedings of 2019 International Linguistics, Education and Literature Conference, 2019.<br /> [5] Newmark Peter. A Textbook of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2001.<br /> [6] Pym. Translation and text transfer. An essay on the principles of intercultural communication [A].Frankfurt: Peter Lang, 1992.<br /> [7] Snell Hornby, Mary. Translation studies: An Integrated Approach. Amsterdam: John Benjamins, 1995.<br /> [8] 付蓉. 从跨文化的角度探讨汉语新词新语的英译[J]. 北京:语文建设, 2015.<br /> [9] 亢世勇. 《新词语大辞典》的编撰[J].辞书研究, 2003.<br /> [10] 李春江. 汉语网络新词的英译探究[J]. 宁波:宁波工程学院学报, 2015. <br /> [11] 廖颖颖． 论中国主流英语新闻报刊对中国特色词语的英译策略[J]. 长沙:湖南师范大学学报, 2008.<br /> [12] 刘宓庆. 新编当代翻译理论[M]. 北京:中国对外翻译出版公司, 2005.<br /> [13] 刘晓骏. 汉语网络新词英译中的文化因素[J]．内蒙古:语文学刊，2012.<br /> [14] 欧阳因. 朗文中国流行新词语[M]. 北京:北京大学出版社, 2000．<br /> [15] 丘柳珍. 汉语网络新词的英译[J]. 赤峰学院学报:自然科学版, 2014.<br /> [16] 田龙娇. 对外汉语新词新语教学研究[D]. 四川师范大学, 2013.<br /> [17] 王维东. 网络热词汉译英探究[J]. 北京:中国翻译, 2011.<br /> [18］吴秋芬,杨司桂. 汉语新词英译研究十年述评[J]. 燕山大学学报, 2014.<br /> [19] 杨全红. 高级翻译十二讲[M]. 武汉:武汉大学出版社, 2009.<br /> [20] 张健,唐见端. 略谈汉语新词新义的英译[J]. 中国翻译, 1996.<br /> <br /> ='''Translation of Dish Names'''=<br /> <br /> <br /> ==On the C-E translation of Chinese dish names:From a Functional Equivalence Perspective 刘洋诺 Liu Yangnuo==<br /> <br /> '''Abstract'''<br /> <br /> With increasing global influence, the task of cultural communication is a formidable project. Translation as a media plays a important role in cultural communication. A Bite of China, a TV program to introduce Chinese dishes, has gained popularity at home and abroad, thus broadcasting Chinese dishes. But difficulties in translating Chinese dishes are evitable considering abundant culture-loaded expressions and complex cooking skills. The essay discusses theoretical and practical significance of researching Chinese dish names. We summarize some point of views from other scholars. Also, we analyze the difficulties in translating Chinese cuisines from a functional equivalence perspective. Combined with translation examples, we discuss three strategies for translating Chinese dish names.<br /> <br /> '''Keywords'''<br /> <br /> Chinese-English translation; Chinese dish names; functional equivalence<br /> <br /> '''摘要''' 中国国际影响力不断提高，文化交流的使命更加艰巨。翻译作为文化交流媒介，其重要性也不容忽视。中国饮食文化节目《舌尖上的中国》在海内外热播也进一步推动了中国特色饮食文化的传播，但是其丰富的文化内涵和多样的烹饪技巧也给译者带来不少困难。本文探讨研究中国菜名翻译的理论和实践意义，总结中国菜名翻译目前的研究成果。从功能对等理论出发，分析中国菜名翻译的困难，同时也结合翻译实例，提出三个中国菜名翻译的策略。<br /> <br /> '''关键词''' 中译英；中国菜名；功能对等<br /> <br /> '''I.Introduction'''<br /> <br /> As the old Chinese saying goes, food is the God of the people. In other words, we regard food as the primary need. Chinese cuisine has a firm connection between our daily life and Chinese culture. But when it comes to Chinese cuisine, there are many aspects left for us to consider, such as the etiquette of dining table, dietary structure or habits, the art of dietary decorations and cultural connotation. In the essay, we will mainly focus on Chinese dish names. From semantic linguistic point of view, there are two structure in a language. The surface structure is Chinese dish names themselves, but the deep structure is the meaning behind these dish names. It’s not surprising that we will discuss the relationship between some Chinese dish names and their cultural connotation in the later part of this essay. Chinese dish names are endowed with Chinese culture through culture-loaded expressions or idioms. When we dive into our research, it’s easy to find out that behind some dish names from historical stories and anecdotes are layer upon layer of meanings. Although the majority of us understand the importance of translating Chinese dish names, good translations still remain in the dark. The reasons abound, ranging from a great variety of Chinese dishes and difficulty in fully understanding of cultural connotation behind Chinese dishes.<br /> <br /> The essay takes functional equivalence coined by Eugene Nida as a theoretical basis. In the first part, we discuss the importance and significance of researches on Chinese-English translation of Chinese dish names. In the second part, we look back on functional equivalence theory and summarize current results on this topic. At the same time, we try to discuss difficulties in translating Chinese dish names in terms of basic information and cultural backgrounds. In the last part, we turn to discuss the possibility of applying the theory into translation practice on Chinese dish names in order to improve C-E translation of Chinese cuisine. We consolidate commonly used strategies into three combined with translation examples in reality. The last part is to summarize what we have discussed before and to point out limitations of this essay. The purpose of our research is to have a better understanding of our own culture and transmitting Chinese culture to foreigners. Apart from cultural aspect, cultural communication interconnects with economic and political aspect, which is one of reasons why China attaching much importance to cross-cultural communication and transmission. <br /> <br />  <br /> '''II.Literature Review'''<br /> <br /> 2.1 Previous Studies on the C-E translation of Chinese Dish Names<br /> <br /> There are some scholars who have paved the way for our further researches. Some of them describe strategies for C-E translation of Chinese dish names based on several translation theories. Others Zhang Tingli (2015) summarized six characteristics of Chinese dish names based on A Bite of China, a popular TV program in China. Below are six characteristics: place names plus ingredients, personal names plus ingredients, main ingredients plus supplementary ingredients, cooking procedures, various flavors and cultural elements. Li Weiwei (2017) wrote a report on Chinese-English cuisine interpretation under the guidance of Skopos Theory, including the Skopos rule, the coherence rule, the fidelity rule and the loyalty rule. Che Yimo (2019) summarize three principles to analyze the menu translation quality of a Chinese restaurant based on cross-cultural communication theories. The three principles include semantic proximity, cultural communication and aesthetics. Xue Jingnan (2015) involves an analysis of the translation of Chineseness by Chinese-Candians in food discourse from a cultural perspective, which providing a glimpse into Chinese culinary identity. Similiarly, Lee Yi Yan (2016) mainly focus on cultural and sociological phenomenon behind Chinese food. His research is based on two types of popular Chinese food narratives: Ang Lee's Eat Drink Man Woman published in 1994 with a televisual documentary series A Bite of China released in 2012. Under the guidance of their papers, we are able to explore more in this infinite sphere. We pay tributed to great efforts they have paid. While researches on the C-E transllation of Chinese dish names have spread into most sectors, researches from a functional equivalence theory are few because previous scholars mainly apply Skopos theory and cross-cultural theory into their researches. In the paper, we will discuss the C-E translation of Chinese dish names coupled with functional equivalence theory. In the next part, we will turn to existing problems in the C-E translation of Chinese dish names.<br /> <br />  <br /> 2.2 Existing Problems<br /> <br /> <br /> 2.2.1 Problems in Transmitting Basic Information of Chinese Dish Names<br /> <br /> Different translation versions of a Chinese dish always make foreigners confused. For example, there are at least three versions of 炮弹鱼, including Shell fish, bullet mackerel and trigger fish. We often blur the lines between scientific name and general name in our translation. Also, sometimes we seem to ignore distinct difference between two things by using the same name to define them. For example, some translators use bamboo fungus and edible tree fungus to stand for竹笋 and 木耳 respectively, but in reality 竹笋is completely different from 木耳. There are some subtle differences among Chinese dishes. As Mo Chuanxia and Yue Lin (2020) mentioned in their essay, 水米籺is cooked rice pounded into paste with stuffing inside for worship or diet. 籺is a defining food for South China, especially in Guangdong provinces. It is totally different from cake or pastry in Western culture. The best way to translate it is to use explanatory words. Below are some C-E translations related to Chinese dishes: 黄馍馍(yellow steamed bun), 肉夹馍(the marinated meat in baked bun), 榴莲酥(crispy durian cake) and蒿子粑粑(crown daisy rice cake). Everyone who has ever eaten these four kinds of food will have an inkling of knowledge about the different flavor and shape between 黄馍馍and肉夹馍. Likewise, the word “sausage” is insufficient to translate 血肠, 腊肠 and 香肠. For some well-known Chinese food such as tofu, it’s unnecessary to translate it into bean curd as in 油豆腐(fried bean curd puff). It seems to be nonessential part in translating Chinese dish names because we often are encouraged to create our own translation. But for long-term effects, chaos will lead to negative impact on economic benefits of those Chinese dishes and cross-cultural communication. <br /> <br /> Judging from a great variety of cooking techniques in many Chinese dish names, they bring a lot difficulties in the rendering of Chinese cuisine. In Chinese, there are a lot of verbs to describe how to cook. I list some common verbs below: 炒, 煮, 炖, 炸, 煎, 煲, 蒸, 烧, 焖 and 拌. But when it comes to C-E translation, we translators seem to ignore these verbs and use the same &quot;with&quot; structure to translate all of them as in 莴笋炒火腿(Stir-fried ham with asparagus lettuce), 莲藕炖排骨(Stewed ribs with lotus root) and 虾子焖茭白(Shrimp roe stewed with cane shoots). On top of these commonly used verbs, some verbs are really difficult to understand for native speakers who are unfamiliar with cooking, let alone for foreigners. The four words list below is a case in point: 煸, 焙, 焗 and 烩. The reason behind this phenomenon lies in lacking language about cooking techniques. The word list in this paragraph is more about the duration and degree of heating while cooking Chinese cuisine. As a translator, we should not only know general translation skills that can applied to a large number of texts, but also should have the inkling of other fields. Without background knowledge on cooking procedures, they will be stumbling blocks for translators striving for concise and accurate renderings.<br /> <br /> After discussing cooking techniques in Chinese dish names, we will turn to the different flavor of Chinese cuisine. When burying myself into oceans of Chinese dishes, I divide all sorts of flavors into two categories. In the first category, word list includes 酸辣, 三鲜, 川味, 麻辣, 卤味, 家常, 酱香, 五香, 香辣 and 酥. In the second category, 孜然, 铁板, 鼓汁, 姜汁, 泡椒, 糖醋 and 蒜泥 will put in a group because these nouns mainly derived from ingredients and cooking utensils rather than the flavor itself. Beautifying function aesthetic beauty<br /> <br /> <br /> 2.2.2 Problems in Considering Different Cultural Backgrounds<br /> <br /> Culture-loaded Chinese dish names <br /> <br /> <br /> '''III.Functional Equivalence Theory'''<br /> <br /> <br /> Functional Equivalence put forward by Eugene. A. Nida, a renowned American linguist and translation theorist. Functional equivalence theory developed from dynamic equivalence. He defined dynamic equivalence as &quot;the quality of a translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors. Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida, 1969). In the later works, he thought that the adequacy of a translation depended on “the reliability of the text itself, the discourse type, the intended audience, the manner in which the translated text is to be used, and the purpose for which the translation has been made” (Nida, 1993, p.127). Under the influence of Eugene. A. Nida, other subsequent scholars also put forward their own understanding of functional equivalence. In the views of Christian Nord, the translator recreates the text in target language by keeping some source-text information or linguistic elements invariant and adapting the rest to the receivers’ background knowledge, expectations and communicative needs or to such factors as medium-restrictions and deixis requirements (Nord, 2001). The term the closest natural equivalent implies that the rendering must be readable (related to the language form) and understandable (related to the content) to the target receptors, since different languages have different features of grammar and lexicon. Functional-equivalence requires the highest degree of proximity (Zhang Qing &amp; Wang Jiaqi,2010: 880-888). The translation is a reproduction process of source text in target language, observing the target culture. The target language features in terms of contents, sentence structure and lexis should be considered as criteria to adapt the source text before translating. The source text elements that do not fit in target culture should be revised or even neglected in translating so as to transfer the flavor of source text while not violating target culture. (Yue Siwei, 2013: 61-68)<br /> <br />  <br /> '''IV. Application of Functional Equivalence Theory in the C-E translation of Chinese Cuisine'''<br /> <br /> <br /> 4.1 Princples of C-E translation of Chinese Cuisine<br /> <br /> 4.2 Strategies for C-E translation of Chinese Cuisine<br /> <br /> (1)Literal translation：<br /> <br />  <br /> (2)Transliteration<br /> <br />  <br /> (3)Free translation<br /> <br /> <br /> '''V. Conclusion'''<br /> <br /> What I discussed in the essay is only a panoramic view of Chinese dish names. There are eight classifications of Chinese famous cuisines ranging from Lu Cuisine and Chuan Cuisine, Yue Cuisine and Min Cuisine, Su Cuisine and Zhe Cuisine, Xiang Cuisine and Hui Cuisine. Under these eight Chinese cuisines, there are distinct difference in dish names considering region and ethnic group. As we know, one size can’t fit all. Aside from researches on Chinese dish names, cultural elements behind idioms related to Chinese dishes deserve more attention. <br />  <br /> Bibliography<br /> <br /> ==The Untranslatability and Loss of Meaning in Chinese Dish Names Translation 袁雨晨 Yuan Yuchen==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==A Study of English Translation of Chinese Dish Names from the Perspective of Domestication and Foreignization -- Taking Hunan cuisine an Example 邬香 Wu Xiang==<br /> <br /> ===Abstract===<br /> <br /> As a bright pearl in the storehouse of traditional Chinese culture, catering culture plays a more and more important role in the increasingly frequent cross-cultural communication. However, there are many problems in English translation of Chinese dish names, such as the use of direct and rigid expressions, the neglect of cultural connotations of dishes, and the lack of unified translation standards. Foreignization and domestication can effectively solve the above problems. From the perspective of foreignization and domestication this chapter takes the English translation of Hunan cuisine as an example, and uses different translation strategies for realistic and freehand dishes from the linguistic and cultural levels. Although domestication and foreignization can not remove all the obstacles in English translation of dish names, they can help to accurately express the meanings of dish names, reflect their cultural connotations, and promote cultural exchange and dissemination.<br /> <br /> ===Key words===<br /> <br /> Chinese dish names; English translation; domestication and foreignization; cross-cultural communication<br /> <br /> ===摘要===<br /> <br /> 饮食文化作为中国传统文化宝库中一颗璀璨的明珠，在如今日益频繁的跨文化交流中的作用愈发重要。但是目前中国菜名英译中出现不少问题，主要包括使用直接生硬的表达方式、忽略菜肴文化内涵、缺乏统一的翻译标准。运用异化和归化翻译策略能有效解决上述问题。本章拟从异化和归化的视角出发，以湘菜英译为例，针对写实型和写意型菜肴从语言和文化层面使用不同的翻译策略。尽管归化和异化不能清除菜名英译中所有的障碍，但其有助于准确表达菜名含义，体现其蕴藏的文化内涵，促进文化交流与传播。<br /> <br /> ===关键词===<br /> <br /> 中国菜名；英译；归化和异化；跨文化交流<br /> <br /> ===1.Introduction===<br /> <br /> After thousands of years of precipitation and inheritance Chinese food culture has emerged on the international stage and gradually gained the favor and recognition of foreigners. In today's society cultural exchanges between countries and nations are increasingly frequent. As a cross-cultural communication activity, translation refers not only to the process of language conversion, but also to the process of cultural transformation and dissemination. Because Chinese food contains a large number of cultural and artistic features, which reflect the Chinese cultural landscape, we have different translation versions in the process of translating Chinese dishes. This is not conducive to the spread of Chinese culture. It’s known that translation strategies of domestication and foreignization can retain the cultural elements in the original text to the greatest extent. As one of the eight major cuisines in China, Hunan cuisine has its unique characteristics and rich cultural heritage, so it is suitable to adopt domestication and foreignization in English translation. Many domestic scholars focus on specific translation methods and skills in the research on translation of dish names, and rarely consider the translation strategies of foreignization and domestication. However, it is necessary to clarify what kind of translation strategy to adopt before choosing appropriate translation methods and skills, because the implementation of the former is reflected in the application of specific translation skills, while the application of the latter requires certain translation strategies (熊兵, 2014). Therefore, this chapter will discuss the application of translation strategies of domestication and foreignization in the English translation of traditional Chinese dish names based on the corpus of Hunan dishes.<br /> <br /> ===2.Exiting problems in English translation of Chinese dish names===<br /> <br /> Chinese food culture is extensive and profound. It has a long history. The importance of English translation of Chinese dish names in cross-cultural communications between China and foreign countries is self-evident. However, there are many problems in the English translation of Chinese dish names, such as the use of direct and rigid expressions, the lack of unified translation standards, and the ignorance of the cultural connotation of dishes. These problems make foreigners and some domestic English learners confused. In the following, I will analyze in detail with examples.<br /> <br /> 2.1 The use of direct and rigid expressions<br /> <br /> China has a vast territory and abundant resources. The eating habits and cooking methods in different regions of the country are different. Some dishes are named after myths, legends and allusions, while others are complex in cooking methods and various in ingredients. Direct and stiff expressions can‘t express the rich connotations of these dishes, and even make people funny. For example, if &quot;Jiaohua chicken, a whole chicken roasted in caked mud&quot;(叫花鸡) is translated into &quot;beggar's chicken&quot;(叫花子的鸡), it does not reflect the origin and the cooking method of this dish. It is said that in the late Ming Dynasty and early Qing Dynasty, a beggar in Changshu（常熟，a city of Jiangsu province） got a chicken by chance. He had no cooking utensils and seasonings. So he had to put the chicken into the mud to simmer and roast it. When the chicken was cooked, it knocked off the mud shell, and the aroma overflowed. It became a delicious dish. Another example is that &quot;木须肉&quot; is translated as &quot;wood mustache meat&quot;（木头胡子肉）. This translation is confusing and does not reflect the main ingredients of this dish. I think that it is appropriate and reasonable to translate it into &quot;stir fried pork with eggs and black fugus&quot;.<br /> <br /> 2.2 The lack of unified translation standards<br /> <br /> At present there is no uniform international standard for the translation of Chinese dish names, which leads to the emergence of multiple translation versions in the book market and restaurants. It brings inconvenience and trouble to foreigners and seriously affects the spread of Chinese catering culture. For example, there are several different translations of &quot;麻婆豆腐&quot; in China: bean curd with minced pork in hot sauce; Mapo Tofu; tofu made by woman with freckles. The last translation is not very appropriate and easy to cause disgust. Foreigners are familiar with the translation of &quot;Mapo Tofu&quot; and have already accepted it, so it is acceptable not to explain it. The first translation is to make people salivate. It reflects the method and raw materials of this dish. There are also many ways to translate &quot;宫保鸡丁&quot;, including &quot;Kung Pao chicken&quot;, &quot;fried diced chicken in Sichuan style&quot; or &quot;sautéed chicken cubes with chili and peanuts&quot;. So many translation versions will not only make readers confused, but also fail to reflect the characteristics and cultural connotation of Chinese dish names. Therefore, the translation of the unified dish names is one of the problems to be solved in correctly understanding Chinese cooking culture.<br /> <br /> <br /> ===3.Translation strategies of domestication and foreignization ===<br /> <br /> ===4. Application of domestication and foreignization in English translation of Hunan cuisine===<br /> <br /> ===5. Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ='''Translation Studies'''=<br /> <br /> <br /> ==A Review and Reflection of Holmes and Toury’s Descriptive Translation Studies 曾雁湖 Zeng Yanhu==<br /> <br /> ==Foreignizing Tanslation and National Culture Development 邓锦霞 Deng Jinxia==<br /> <br /> ==='''Abstract'''===<br /> In the context of economic and social globalization, human civilization in the 20th century is developing towards diversification. In the process of multicultural exchanges, the impact of translation on local national culture has become a new topic of discussion. Foreignizing translation takes the source language as its destination and can retain the cultural characteristics of the source language to the greatest extent, which has gradually attracted the attention of contemporary translators. This chapter discusses the relationship between foreignizing translation and national culture from three perspectives: the necessity of foreignizing translation, the limitations of foreignizing translation and the influence of foreignizing translation on national culture.<br /> <br /> ==='''Key words'''===<br /> foreignizing translation; national culture<br /> <br /> ==='''摘要'''===<br /> 在经济与社会全球化发展的背景下，20世纪的人类文明正在向多元化发展。在多元文化交流的过程中，翻译作品对本土民族文化的影响成为新的讨论话题。异化翻译以源语言为归宿，能够最大限度地保留源语言文化特色，逐渐受到当代翻译家的重视。本文章从异化翻译的必要性，异化翻译的局限性以及异化翻译对民族文化的影响三个角度出发，讨论异化翻译与民族文化发展的关系。<br /> ==='''关键词'''===<br /> 异化翻译：民族文化<br /> <br /> ==='''1.Introduction'''===<br /> The debate between domesticating translation and foreignizing translation has a long history. When contemporary translators choose translation strategies, domesticating translation is the dominant one, for the translated text will be more easily accepted by the target language readers. Although this may attract more target language readers, in the translation process of &quot;domestication&quot;, we allow the source language culture to adapt to the target language culture, and even replace the source language culture with the target one. Such translations cannot truly achieve the purpose of cross-cultural communication and dissemination. As far as the quality of cultural production and transformation is concerned, this is likely to cause the development of the homogeneity of the cultures of various ethnic groups, and this does not conform to the general trend of cultural globalization, and is not conducive to maintaining the cultural uniqueness of various ethnic groups. A typical domesticated translation in Chinese-English translation is David Hawkes's translation of &quot;red&quot; in ''The Dream of the Red Chamber''. Considering the different understanding of red in Chinese and Western cultures, he translated &quot;怡红公子&quot; as &quot;green boy&quot;. Although this translation is conducive to the understanding of western readers, it also loses the cultural connotation of Chinese red. In the context of Chinese culture, &quot;red&quot; mostly symbolizes auspiciousness and joy. With such kind of domesticating translation, western readers can never really understand the real Chinese culture. Compared with domesticated translation, source-oriented foreignizing translation has better retention of the original text in terms of language and culture.<br /> <br /> ==='''2.The Evolution of Foreignizing Translation'''===<br /> The concept of foreignization translation in the West can be traced back to the word-for-word translation discussed by Cicero, Horace and St.Jerome in ancient Rome, which is the embryonic form of literal translation. The most famous translator in the early Middle Ages, Manlius Boethius, had a rich view of literal translation as (1) Content and style are hostile to each other, either paying attention to style or preserving content, neither can be achieved. (2) Translation is centered on objective things, and translators should give up subjective judgments. During the Renaissance, the famous German poet and translator Sebastian Brant substituted the concept of literal translation into poetry translation and proposed a verbatim translation method. In modern times, the dispute between literal translation and free translation has evolved into a dispute between the Old School and the New School. Bachet de Meziriae puts forward three principles that translators must follow: (1) Do not stuff the original text with private goods (2) Do not add or delete the original text (3) Do not make changes that are detrimental to the original intent. Translation critic Daniel Huet believes that the best translation method is for the translator to follow the original author's meaning ; if possible, follow his words closely, and finally reproduce his character as much as possible. Charles Batteux believes that the first translation rule is to preserve the original word order as much as possible.<br /> <br /> From a diachronic point of view, the concept of literal translation has become deeper and more specific, and its connotation has become more and more abundant. However, the concept of literal translation in this period still remained at the level of language meaning, content and formal style. The development in culture, poetics, society, ethics and ideology has gradually extended and developed literal translation, which is the basis of Western foreignizing translation ideas.<br /> <br /> Friedrich Schleiermacher put forward two very different translation methods in his famous speech entitled &quot;On Different Translation Methods&quot;: the translator should either keep the original author as still as possible and make the reader close to the original author; or let the reader as much as possible stay still and make the original author approach the reader. He advocated that the first translation method, the foreignizing translation method, is the real translation method, allowing readers to appreciate foreign customs and respecting language and cultural differences.<br /> <br /> Walter Benjamin's thought of foreignization is reflected in his view of language. He believes that all languages convey themselves in themselves, so language itself is translation. Benjamin emphasized the directness of language and intended to subvert the bourgeois instrumental language view. The translation goal of pure language makes Benjamin tend to use the foreignizing translation method, retaining the language form of the original text, that is, the difference in the way of meaning. In other words, Benjamin's foreignizing translation method is not to translate the meaning of the original text, but to convey the language expression of the original text to the target language. It is to achieve the ultimate goal of pure language human salvation.<br /> <br /> Antoine Berman puts forward the concept of &quot;translation ethics&quot; in the book &quot;The Test of Difference&quot; in response to the traditional translation thought centered on &quot;the transmission of meaning&quot; that has long dominated the western translation world. The translation ethics advocated by Berman is to respect the original work and respect the language and cultural differences in the original work. To this end, he advocates foreignizing translation, implements foreignizing translation through the translation strategy of translated text, enriches himself through the introduction of &quot;others&quot;, in order to achieve his goal of translation ethics.<br /> <br /> Although the idea of foreignizing translation has existed for a long time, the concept and terminology of &quot;foreignizing translation&quot; have not been promoted to the agenda of translation studies until 1995, when Lawrence Venuti published his famous book &quot;The Invisibility of the Translator-A History of Translation&quot;. Venuti’s concept of foreignizing translation puts traditional literal translation on the local cultural and political agenda, and links translation with culture, political ethics, and ideology. Its rich connotations can be summarized in the following five points: differences in material selection, language Differences with culture, readers and translation ethics. The core of Venuti's foreignizing translation is to practice differentiated ethical propositions to resist the mainstream values of the target language culture, thereby highlighting the language and cultural differences of foreign languages. In other words, Venuti’s translation ethics emphasizes the absorption and acceptance of the “other” as the “other”. On the one hand, it respects the language and cultural differences of the foreign other, and on the other hand, it can be used to challenge the culture of the target language. Mainstream values<br /> <br /> ==='''3.The Necessity of Foreignizing Translation '''===<br /> Translation circles have different definitions of foreignizing translation, but generally believe that foreignizing translation is a translation strategy that preserves the characteristics of the source language, which will help readers get closer to the author. Although the background and purpose of different theorists’ perspectives on foreignizing translation are different, we should uphold the attitude of foreignizing translation as a translation strategy, and treat the role of foreignizing translation in the development of national culture objectively.<br /> <br /> ===='''3.1.The Need of Language Development'''====<br /> As the carrier of culture, language has never been self-sufficient and isolated from external factors. On the contrary, it is an open system with strong tolerance and attractiveness. With the deepening of exchanges among countries and ethnic groups, various languages are now enriched in varying degrees. The foreignizing translation played a very important role in this process. The change of language is firstly reflected at the lexical level. Some vocabulary did not exist in the target country, but through the translator's foreignizing translation, a large number of words with foreign cultural customs were gradually accepted by people. And it can be widely disseminated and used in popular culture. For example: &quot;honeymoon&quot; (蜜月), this word had no corresponding expression in Chinese at the time, and its meaning (the first month of the wedding) did not exist in Chinese at that time. It was Lin Shu's method of alienation. The two parts of the compound word are translated and arranged together according to their literal meanings (honey &quot;蜜&quot;, moon &quot;月&quot;) to form the word &quot;蜜月&quot;. This undoubtedly injected fresh blood into Chinese at that time and developed modern Chinese. There are also many other words, such as &quot;咖啡（coffee）&quot;, &quot;丁克（DINK）&quot;, and &quot;可乐（cola）&quot;, which have been understood and accepted by Chinese readers. Words such as &quot;Jiaozi(饺子）&quot;, &quot;tofu（豆腐）&quot;, &quot;Kungfu（功夫）&quot; originated from Chinese have also entered the English thesaurus and have become part of the English family. The inclusiveness of language is evident. Once these foreign words are accepted by the society，they are established by convention and become new members when they are added to the traditional language and culture. As a result, they will inevitably enrich the way of language expression, promote language proximity and communication, and enhance the vitality of language. In a sense, the process of language development is also a process of language alienation. The alienation of language is the general trend, and it cannot be blocked by manpower. The translator's use of foreignizing method actually follows the universal law of language development.<br /> <br /> The influence of foreignizing translation is not limited to the lexical level, but also to the syntactic level (Wang Kefei, 2002:458). When Liang Qichao investigated the translation of Buddhist scriptures, he discussed a dozen of foriegnizing translation of syntaxes. Facts have proved that the foreignized syntax of these Buddhist translations took root in Chinese with the widespread spread of Buddhism and became the origin of the Chinese vernacular. Modern Chinese is also influenced by Western languages, and the frequency and scope of passive voice use have expanded. Passive form was used as early as in ancient Chinese, but it is rare, and it is generally used to express misfortune or unpleasant experience. Affected by the translation of Western languages, the passive form in modern Chinese can also express pleasant things. It means that the syntax of source language in foreignizing translation can be accepted as a part of the target language.<br /> <br /> It can be seen that the use of foreignization translation method can enrich and expand the vocabulary and syntax of the target language, which is beneficial to the maturity and perfection of the target language. Around the 19th century, when German romantic writers and translators were translating foreign works, they paid great attention to absorbing some vocabulary and special expressions from foreign literary works to enrich the German language. In their view, the development of German is not yet perfect, and it is necessary to enrich and expand the German language through translation. Under the guidance of this kind of thinking, they showed great importance to the language form of the original text.<br /> <br /> In China, Mr. Lu Xun has always advocated foreignization translation for the purpose of importing new expressions to develop vernacular Chinese. &quot;Chinese are too imprecise...To solve this problem, I thought I had to endure a little bitterness one after another and put in strange, ancient, foreign syntax. Then we could take it as ourselves.&quot; (Chen Fukang, 1992:298). In the fifteen or sixteen years after the May Fourth Movement, many writers and translators consciously adopted the foreignization translation method under the advocacy of Lu Xun, Qu Qiubai and others. Their works not only absorbed a large number of Western vocabulary, but also used some syntactic structures of Western languages, which gradually overcomed the lack of vocabulary and thin sentence structure of ancient Chinese, and promoted the final development and maturity of the vernacular.<br /> <br /> ===='''3.2.The Need of Culture Communication'''====<br /> Each country and nation has its own unique culture, which all have contributed to the development of world civilization. The prosperity and development of world culture depends more on the further development of these cultures in their own fields rather than extinction. The existence of translation problems actually defaults to the existence of cultural diversity. If there is only one language and one culture in the world, there will naturally be no translation problems.<br /> <br /> Lu Xun advocated foreignizing translation, believing that it can import new content and new expressions. The French philosopher Derrida believes that &quot;translation is to play with similarities and differences in endless analysis.&quot; Through translation, we can achieve a deeper and more accurate understanding of the differences between cultures and the specific expressions of various ethnic languages.<br /> <br /> In the process of cultural input, foreignizing translation is essential if we want to understand the most authentic and essential source language culture. Correct cultural cognition is a prerequisite for cultural exchange. For example, most Westerners believe in Christianity, and they believe that God is the only savior of the world. Westerners' ideology, value system, religious beliefs, ethics, and even behaviors and behaviors are all derived from Christian culture. As the carrier of culture, language is also influenced by religious culture. For this kind of proverb, if you blindly adopt the domestication translation method, translate &quot;God help those who help themselves&quot; as &quot;自助者天助&quot;, and translate &quot;The mills of God grind slowly but sure&quot; as &quot;天网恢恢 疏而不漏&quot;. Then, for most Chinese readers, they may never understand the true religious culture of the West.<br /> <br /> Goethe pointed out that everything has a beginning, and readers will eventually become accustomed to it. In short, readers' approval should be viewed from the perspective of development, not confined to temporary choices. This is the only way to multiculturalism. When the phrase &quot;Praise is not pudding&quot; is translated into &quot;赞美不能当饭吃&quot;, it is certainly conducive to readers' understanding. But the cultural connotation of pudding for Westerners is completely concealed. The translation of &quot;赞美不能当布丁吃&quot; highlights the importance of pudding in the translation. Another example is the proverb &quot;Unkissed, unkind&quot;. If it is translated as &quot;不作揖，不友善&quot; by using domesticating translation method, although such a translation fully conforms to the thinking and habits of the Chinese people, it also causes a lack of the original culture. Therefore, using foreignizing translation method, &quot;不亲吻，不友善&quot; can make readers understand the difference between Western etiquette and Chinese, and will not cause obstacles in cultural exchanges.<br /> <br /> ==='''The Limitations of Foreignizing Translation'''===<br /> <br /> ==='''The Influence of Foreignizing Translation'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Work Cited'''===<br /> <br /> == Analysis on the Key problems in Chinese-English Translation and Corresponding Solutions ----- Based on Contrastive English-Chinese Studies and Chinese-English Translation 姜好 Jiang Hao==<br /> <br /> ==A Comparative Study of Chinese Versions of ''Uncle Tom’s Cabin'': From the Perspective of Hermeneutics 管钦清 Guan Qinqing==<br /> <br /> ===解释学视角下''Uncle Tom’s Cabin''译本的对比研究===<br /> <br /> ===ABSTRACT===<br /> <br /> Hermeneutics is a discipline that studies understanding and interpretation, and its development is inseparable from translation. Both literary translation and non-literary <br /> translation are inseparable from the understanding and interpretation of the original text. The nature of translation determines that the relationship between hermeneutic <br /> theory and translation studies is extremely close. This article is guided by Gadamer's hermeneutics. Based on the core concepts of historical understanding, prejudice, and <br /> fusion of horizons, this article will discuss how these related factors, such as historical ideology, translator's attitude, language fusion, cultural filtering, and <br /> translator's subjectivity, work and embody in the Chinese versions of Uncle Tom's cabin. This article first explains Gadamer's hermeneutics. Then the author and translator <br /> of ''Uncle Tom’s Cabin'' are introduced. Under the guidance of the above theory, the different translation strategies adopted by different Chinese versions and their reasons are analyzed from different perspectives. Through the above analysis, I draw some inspiration from it: the existence of multiple translation versions and the retranslation of literary works are reasonable. Translation works from different historical contexts can reflect the spirit of a particular era. And hermeneutics can provide reasonable explanations for some translation phenomena that are influenced and determined by the context of social culture and history, and it is very suitable for studying translation works that appeared in different periods.<br /> <br /> ===Key words: Hermeneutics; ''Uncle Tom’s Cabin''; historicity of understanding; fusion of horizons; effective history===<br /> <br /> ===摘 要===<br /> <br /> 解释学是一门研究理解和解释的学科，其发展与翻译密不可分。无论是文学翻译还是非文学翻译，都离不开原文的理解和解释，翻译的这种性质决定了解释学理论与翻译研究之间的关系是极其密<br /> 切的。本文主要是从伽达默尔的解释学角度出发，根据理解的历史性、偏见和视域融合这几个核心概念，论述历史意识形态、译者态度、语言融合、文化过滤以及译者主体性等相关因素在斯托夫<br /> 人的''Uncle Tom’s Cabin''中译本中的体现及作用。本文首先对伽达默尔的解释学进行了阐述。随后介绍了''Uncle Tom’s Cabin''的原文作者以及译者，并在以上理论基础的指导下，从不同的角度对<br /> 译本所采取的不同的翻译策略及其原因进行了分析。通过以上分析，笔者从中得出启示：多个译本同时存在以及文学名著重译现象的存在是合理的。产生于不同历史环境的译作，能够反映特定的<br /> 时代精神。而解释学能为一些由社会文化历史语境影响和决定的翻译现象提供合理的解释，并且十分适用于研究不同时期出现的译作。<br /> <br /> ===关键词：解释学；''Uncle Tom’s Cabin''；理解的历史性；视域融合；效果历史===<br /> <br /> ===Introduction===<br /> <br /> ''Uncle Tom’s Cabin'' is a novel against slavery published by American writer Harriet Beecher Stowe in 1852. The novel's views on African-Americans and American slavery have had far-reaching influences, and to some extent intensified local conflicts that led to the American Civil War. The novel was the best-selling novel of the 19th century (and the second best-selling book, second only to the best-selling book, the Bible), and was considered a major reason for the rise of abolitionism in the 1850s. In the first year of its publication, it sold 300,000 copies in the United States. The impact of Uncle Tom’s Cabin on American society was so great that during the early days of the Civil War, when Lincoln met Mrs. Stowe, he said, &quot;You are the little woman who caused a great war.&quot;<br /> <br /> The influence of ''Uncle Tom’s Cabin'' on the Chinese translation industry is self-evident. As the first American novel was translated into Chinese, this novel first appeared in China in the form of classical Chinese in 1901. Its name was《黑奴吁天录》 and translated by translators Lin Shu and Wei Yi. After the publication of《黑奴吁天录》, it caused a strong response from readers and caused a certain impact on the consciousness of Chinese readers. The second version of Uncle Tom’s Cabin in China was translated by Mr. Huang Jizhong, entitled 《汤姆大伯的小屋》 and published in 1982. A major feature of Huang Jizhong's ''Uncle Tom's Cabin'' was its fidelity to the original text. The translation was very popular once it was launched. 59,000 copies were printed in the first edition, and another 30,000 copies were soon printed, all sold out. These two translation works had different production time and different translation methods, but they both enduring have many readers. Why can a foreign novel be retranslated many times in China, and all kinds of completely different translation works can enjoy their respective reputations, and have been sought after by readers of <br /> different times? Why these two very different translation methods so successful? The above issues aroused my attention.<br /> <br /> Hermeneutics is a philosophical theory that explains and understands text. For the first time in the 20th century, translation theorist George Steiner put translation into <br /> hermeneutics and pointed out that language is constantly changing. With the continuous development of hermeneutics, the German philosopher Gadamer established a systematic <br /> philosophical hermeneutics and put forward the three principles of &quot;history of understanding&quot;, &quot;fusion of horizons&quot;, and &quot;history of effects&quot; in his works. These three <br /> principles can be used to explain many translation phenomena and translation theories in the history of Chinese and foreign translation, and have high reference value. In <br /> view of this, the author decided to use Gadamer's hermeneutics as a theoretical guide. Focusing on the analysis of the two versions of ''Uncle Tom's Cabin'', I will research and discuss the issues raised above, and draw inspiration from them to provide a way for literary translation.<br /> <br /> ===1.Literature Review===<br /> <br /> This chapter will give a brief introduction to hermeneutics from three aspects: the development of hermeneutics, Gadamer's Philosophical Hermeneutics, and Hermeneutics' <br /> Guide to Translation Studies.<br /> <br /> ====1.1. Development of Hermeneutics==== <br /> <br /> Hermeneutics has a profound historical origin and is an ancient and well-established science. Traditional hermeneutics is not a specific philosophical school, but a <br /> philosophical theory of meaning, understanding, and interpretation. Its history can be traced back to ancient Greece. The term Hemeneutics is the name of Hemes, the <br /> messenger of the Greek gods. He accepted the will of Zeus and explained it to human beings, and also passed on the human claims to Zeus and the gods. The core of <br /> hermeneutics is the &quot;interpretation&quot; of problem. The academic community generally believes that hermeneutics can be divided into three stages: classical hermeneutics, <br /> modern hermeneutics and philosophical hermeneutics（郑立平，易新奇，2015：101-104）.<br /> <br /> The core of classical hermeneutics is theological hermeneutics, which mainly involves the translation and understanding of the Bible. As a translator, the interpreter must <br /> explain the ambiguous and vague words that appear in the Bible. Therefore, classical hermeneutics is mainly a technique to convert hidden divinity into a language <br /> understandable to ordinary people, which mainly serves the spread of religion and promotes the promotion of the Bible and its teachings. With the continuous secularization <br /> of religious classics, hermeneutics has evolved from a single interpretation of the Bible into an interpretation of classic literary works. After the introduction of <br /> literary research, it gradually became a research method that pursued objectivity and tried to get rid of subjective will. Both F. Schleier-macher and W. Dilthey were <br /> deeply influenced by this methodological consciousness, and continuously promoted the development of hermeneutics, making hermeneutics a subject of interpretive methods.<br /> Modern hermeneutics began at the end of the 19th century, and its representative was Dilthey. Dilthey put forward the hermeneutics of &quot;historical rational critique&quot;, concerned about how the hermeneutics in a specific historical context can objectively understand other historical performances. Hermeneutics is no longer considered as an inquiry into the author's psychological intentions, but rather as an interpretation of the world of existence shown in the text.<br /> <br /> Philosophical hermeneutics, represented by German philosophers Heidegger and Gadamer, is a fundamental change in hermeneutics. They changed the ontology of philosophical hermeneutics, so they are called philosophical hermeneutics. “Unlike previous practical philosophy, this type of hermeneutics as a dual task of theory and practice lies in restoring Aristotle's concept of practical wisdom” (洪汉鼎，2010:459).And this article uses Gadamer's philosophical hermeneutics as a theoretical guide to analyze the translation.<br /> <br /> ====1.2. Gadamer's Philosophical Hermeneutics====<br /> <br /> Gadamer always believed that the term &quot;Hermeneutics&quot; came from Hermes &quot;Hermes&quot;, one of the twelve main gods of ancient Greece, so he believed that the interpretation must include the acceptance and performance of the recipient, that is, understanding and explaining. On the basis of inheriting Heidegger's thought, Gadamer deepened his thought of understanding. He further developed hermeneutics into philosophical hermeneutics, and pushed hermeneutics to prosperity. Gadamer opposed the hermeneutics that stood before him in an objective position. He believed that understanding is not an act of reproduction, but should be an act of creation. He believed that the author's &quot;intent&quot; does not exist, and the search for the author's &quot;intent&quot; is also futile. <br /> <br /> As mentioned earlier, Gadamer's hermeneutics has three main principles: historicity of understanding, fusion of horizons, and history of effects. From the &quot;historicity of understanding&quot;, Gadamer believed that understanding is historical, and the history of understanding constitutes the bias of understanding, which determines the creativity and generation of understanding. Gadamer believed that the historicity of understanding will inevitably lead to prejudice, but the existence of such prejudice is reasonable. The second is the principle of horizon fusion. Gadamer believed that understanding is the way of existence of history, so both the subject and the object of understanding are the existence of history, and both have their own horizons. In the process of understanding, the translator should be as close as possible to the original horizon of the original author to achieve a fusion of horizons. The last principle is effect history. The effect history principle emphasizes understanding the work from the effect history of the work, which closely links history with the present and fully affirms the significance of ancient texts to contemporary society. Understanding Gadamer's history of effects helps us understand the need to retranslate a classic. These three principles of Gadamer provided an important theoretical basis for us to understand and explain some long-running issues in translation theory and translation practice.<br /> <br /> ====1.3. Hermeneutics' Guide to Translation Studies====<br /> <br /> As mentioned earlier, literary translation and hermeneutical theory are inseparable. Essentially, literary translation is an art of understanding and expressing meaning. It is a process of re-creation through interpretation. At present, hermeneutics is recognized as a valid theory for translation studies. Translation studies based on hermeneutics have broken the traditional inherent understanding of traditional translation theory on some issues, and raised questions and challenges to traditional translation theory. Among them, the guidance of hermeneutics on translation studies is mainly reflected in the following aspects.<br /> <br /> First: the historical nature of understanding explained the misreading phenomenon. The historical nature of understanding means that the specific historical environment, historical status, and historical conditions of the translator are different from the object of understanding. Readers always have historical prejudice in the process of understanding the original text, because they cannot transcend historical space and time to objectively understand the original text. Hermeneutics' re-understanding and definition of this prejudice also provides a philosophical basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. Gadamer believed that there is no so-called normative interpretation of a text（章启群，2002:77）. And this prejudice is a positive factor formed in history and tradition. Scholars should treat this existence correctly and should not regard it as a part that should be eliminated.<br /> <br /> Second: The principle of fusion of horizons explains the phenomenon of cultural filtering. The principle of horizon fusion theoretically confirms the historical roots of cultural filtering phenomenon in translation and the inevitable existence of cultural filtering phenomenon. Although the translator should strive to approach the original vision of the original author and understand the author's original intention, in fact, the translator always inevitably brings the world he is familiar with into the strange world of the original text.<br /> <br /> Third：The principle of effective history explains the multiple translation versions of famous works. Gadamer believed that the text is open and its meaning is never endless. The text goes beyond the historical era in which it was created. This provides the possibility for people of different ages to understand the same text differently. Human beings are constantly developing. In the process of development, they constantly surpass themselves, renew their history, and rethink themselves and their culture. This provides a reasonable explanation for the phenomenon of retranslation of famous works.<br /> <br /> ===2.A Brief Introduction of the Original Author and Two Translators===<br /> <br /> This chapter will give a brief introduction to the original author and two translators to strengthen your understanding of the background of the original text and the two translation versions.<br /> <br /> ====2.1. Harriet Beecher Stowe====<br /> <br /> Harriet Beecher Stowe is an American writer. She was born on June 14, 1811 in a well-known pastor family in North America, and died in 1896. The American Civil War was fought in the 1860s. But since the 1920s, the issue of abolition of slaves has become a central issue in American progressive opinion. At that time, many famous American writers were on the side of abolishing slaves, calling for the liberation of slaves. Mrs. Stowe was one of the most outstanding among these slave writers. <br /> <br /> Mrs. Stowe has been influenced by theology since she was a child, and she has spent her entire life in a religious atmosphere. When Mrs. Stowe was fourteen, their entire family has moved to Boston and has moved to Cincinnati a few years later. At the time, the outskirts of Cincinnati were dotted with large serf farms. It was one of the centers of the abolitionist movement in North America then, and heated speeches against slavery were often heard in urban areas. Mrs. Stowe had fugitive slaves in her home, which gave her the opportunity to hear the tragic experience of fugitive slaves. After that, Mrs. Stowe got another chance to visit several plantations in Maysville, Kentucky with her friends, and witnessed the tragic situation of slaves. Those plantations were the prototype of the Shelby plantation in ''Uncle Tom's Cabin''. This novel extensively describes the brutal oppression and exploitation of slaves by slave owners throughout the southern United States, and portrays the cruelty of slaves in various forms. The novel also describes different types of slave images. Once Uncle Tom's cabin came out, it attracted great attention and response at home and abroad. When the former President of the United States Lincoln met Mrs. Stowe, he jokingly called her “a little woman who brought a war&quot;. This joke also fully reflects the huge influence of Uncle Tom's cabin.<br /> <br /> ====2.2. Lin Shu====<br /> <br /> Lin Shu, a famous writer and translator in modern China, has made outstanding contributions to the translation of Chinese literature. Lin Shu had a profound and solid knowledge of ancient writing. But he did not understand foreign languages, and his translations were all done in cooperation with others. In cooperation with others, Lin Shu has translated 246 works involving 107 writers in 11 countries, and made indelible contributions to the introduction of Western literature. ''Uncle Tom's Cabin'' was Lin Shu's second translation work, and it was also a popular work translated at the peak of his translation career. This translation work can reflect Lin Shu's translation technique and his characteristics.<br /> <br /> At that time, China was facing aggression by the Allied Forces of the Eight Kingdoms, and the Qing government signed the Peace Protocol of 1901. In this context, Lin Shu's enthusiasm for anti-imperialist and national salvation was stirred. He wanted to translate some works that can open up people's wisdom and inspire them. So Lin Shu and Wei Yi co-translated Mrs. Stowe's ''Uncle Tom's Cabin''. Both of them had a strong sense of political mission in translating this work. After the publication of 《黑奴吁天录》, it caused a great response among the readers at that time. Translator Lin Shu ’s anti-imperialist thoughts in his translation work resonate emotionally with readers, directly stimulating readers’ anti-imperialist consciousness. In the treatment of the original works, Lin Shu made conscious cuts. Most of the unfaithful parts of his translations have adopted translation strategies of amplification and omission. From the perspective of traditional linguistic translation theories, Lin Shu may not be a successful translator. But from the perspective of hermeneutics and culture, the existence of Lin Shu's translation method is reasonable.《黑奴吁天录》was Lin Shu's representative translation, which can fully reflect Lin Shu's translation style. Far from Lin Shu's translation style was Huang Jizhong's Unc《汤姆大伯的小屋》，and I will elaborate on the translator Huang Jizhong below.<br /> <br /> ====2.3. Huang Jizhong====<br /> <br /> Huang Jizhong was born on September 28, 1923 in a literary family in Ji'an, Jiangxi. He lost his father in his early years, and he followed his grandfather studying in Shanghai since childhood. He is good at Chinese and English and loves literary translation. In addition to teaching related courses, he has devoted himself to the translation of famous books for many years. As early as 1956, Huang Jizhong accepted the invitation of Shanghai Literature and Art Publishing House to translate ''Uncle Tom's Cabin''. His original plan was to complete the translation work in two years, but due to external shocks, it could not be published as scheduled. Later, this novel was retranslated in 1982 and published by Shanghai Translation Publishing House. Once this edition of Uncle Tom's Cabin was published, it was warmly welcomed by readers. A major feature of Huang Jizhong's《汤姆大伯的小屋》 was its faithfulness to the original text, and another feature was the use of translation method of foreignization. The translation style of ''Uncle Tom's Cabin'' in Huang Jizhong's version was very different from Lin Shu's version, which was of great research value. Therefore, I chose the translated versions of Huang Jizhong and Lin Shu for comparative research.<br /> <br /> ===3. A Comparison of Two Chinese Versions from Gadamer's Hermeneutics===<br /> <br /> The professor of Poetics and Comparative Literature Gideon Toury once said that translation is inevitably involves at least two languages and two cultural traditions (Toury, 2001:56). Professor Chen Hongwei of China also said that translation involves not only language conversion, but also cultural translation（陈宏薇，2004：24）. Therefore, in the following chapter, the two translation works will be analyzed from a cultural and linguistic perspective.<br /> <br /> ====3.1. Comparative Analysis from a Linguistic Perspective====<br /> <br /> The two translators use different languages because they are in different eras. Lin Shu used classical Chinese, while Huang Jizhong used vernacular Chinese. Then they must have many differences in translation. Next, under the guidance of hermeneutics, we will analyze the differences between the two translation works from a linguistic perspective in three aspects.<br /> <br /> =====3.1.1. Contrastive Discourse Analysis=====<br /> <br /> Since the two translators come from different historical times, the translation methods adopted by the two translators are also different. In terms of translation methods, Lin Shu adopted intercompilation while Huang Jizhong adopted complete translation. Examples are as follows:<br /> <br /> 1. “Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.”(Stowe, 2011:3)<br /> <br /> 林译：语至此，门辟，陡入一稚子，约四五岁，貌绝慧黠，雏发未燥，笑处辄动微涡，两目精光耿然。见海留，意殊骇。海留见其服饰之善，心知此奴必为主人主妇所厚昵者。(林纾&amp;魏易，1981：4)<br /> <br /> 黄译：正在这当儿，房门开了。一个四、五岁左右的第二代混血男孩走了进来。这孩子相貌长得分外清秀，特别逗人喜爱。圆圆的脸蛋上有一对酒窝，头上覆盖着一圈圈光滑、鬈曲、细如绢丝的黑头发；一双又大又黑、柔和而炯炯有光的眼睛，从两道浓浓的长睫毛下面好奇地向屋内张望着。他身穿一件黄格子花呢的罩衫；手工精制，剪裁合身，越发衬托出这孩子黝黑、浓郁的俊秀劲儿；那种悠然自得、滑稽有趣而又略带羞涩的神态，表明他惯常得到东家的青睐和宠爱。（黄继忠，1993:3）<br /> <br /> This paragraph comes from the first chapter of ''Uncle Tom’s Cabin'', where the original book vividly describes the cute image of the son of the slave Eliza who owned by Shelby. Comparing the two translations, Lin Shu's translation is in classical Chinese, and in his character description, Lin Shu used a compilation method，omitting many details. However, Huang Jizhong's translation is in vernacular form, and every detail of the original text has been translated in detail by Huang Jizhong. The original text of this paragraph consists of 122 words. Lin Shu's translation is only 62 words, while Huang Jizhong's translation is as many as 183 words. Before the New Culture Movement in the late Qing Dynasty, vernacular Chinese were not welcomed by literati and intellectuals, let alone let them write or translate in vernacular Chinese. The specific society in which Lin Shu lived formed his inherent horizon, which also determined his choice to translate in classical Chinese. In the era of Huang Jizhong, vernacular Chinese have been popular throughout the country, and have become popular in all classes. Therefore, Huang Jizhong must also translate in vernacular texts.<br /> According to hermeneutics, translating a work is a process in which the translator brings his own specific horizon into the historical horizon of the text. It is not a process of letting the interpreter abandon his own horizon, nor is it a horizon replacement. In this example, two translators both are in their own specific field of horizon and try to merge with the field of horizon of the original author, resulting in different translated texts. Gadamer's view of the fusion of the two horizons, to a certain extent, shows the essence of translation, especially literary translation. (谢天振，2000：204) &quot;Fusion of Horizons &quot; overcomes the time gap and historical gap between the text and the interpreter, and the infinite process of understanding and discovery of text meaning is also achieved through &quot; Fusion of Horizons &quot;.<br /> <br /> =====3.1.2. Contrastive Study of Lexicon=====<br /> <br /> Literary translation is an aesthetic re-creation process that is completed through interpretation, that is, the process of including the translator's acceptance and release of information. Lin Shu was proficient in Chinese, and he regarded translation as a creative process. Therefore, in the process of releasing the information, he incorporated his own opinions and adopted the translation strategies of amplification and revision. However, Huang Jizhong's horizon is different from Lin Shu's, so his method of receiving and releasing information was also different. For examples:<br /> <br /> 2. “I’m sorry to say that I am,” said Mr. Shelby. “I’ve agreed to sell Tom” (Stowe, 2011:44)<br /> <br /> 林译：解而培忸怩久之，曰：“吾已署券卖汤姆矣！” (林纾&amp;魏易，1981：14)<br /> <br /> 黄译：“很抱歉，”谢尔贝先生答道，“我已经答应把汤姆卖给他了。” （黄继忠，1993:30）<br /> <br /> This example is from Chapter 5 of the original text. In this case, Lin Shu added the word &quot;忸怩久之&quot;, showing Shelby's entangled heart and the fear of her wife's blame. Looking back at the original text, there is no word in the original text that can express the meaning of &quot;忸怩&quot;. However, Huang Jizhong was faithful to the original text here, and didn’t add or subtract words from the original text. In Gadamer's hermeneutic theory, there is the concept of &quot;pre-understanding&quot;. Pre-understanding refers to the fact that people are influenced by the specific historical environment, historical conditions, historical status, etc. they are in when they understand texts or recognize things. People always carry certain subjective consciousness elements such as emotion, knowledge, and will when they observe and recognize external things. The word &quot;忸怩&quot; added by Lin Shu here embodies the concept of &quot;pre-understanding&quot;，and shows that Lin Shu brought his emotions into his translation work.It's“Rather, we stand always within tradition, and this is no objectifying process, ie we do not conceive of what tradition says as something other, something alien. It is always part of us, a model or exemplar, a recognition of ourselves which our later historical judgment would hardly see as a kind of knowledge, but as the simplest preservation of tradition.” (Gadamer H, 1999:250) Gadamer believes that every interpretation is based on a pre-existing basis. In order to understand something, we must first have it. We cannot understand something that is not part of our overall world. Our understanding of things is based on our own existing knowledge system. That is, we rely on our existing knowledge and experience to understand and explain phenomena and things. Therefore, translators must have their own &quot;pre-understanding&quot; in the process of understanding and translating the source text.<br /> <br /> 3. But real gentlemen, such as I hopes you’ll be, never let fall no words that isn’t respectful to their parents. (Stowe, 2011:132)<br /> <br /> 林译:盖极望吾小主为一代伟人,万勿肆口出言,以逢二亲之怒。(林纾&amp;魏易，1981：45)<br /> <br /> 黄译:我希望你将来做个正人君子,而一个正人君子是决不会说一句不尊敬父母的话的。（黄继忠，1993:94）<br /> <br /> When Uncle Tom said goodbye to his little master George, he expressed his expectations for the little master ---- be a real gentleman. Lin Shu translated this as &quot;一代伟人&quot;, thereby expressing his strong desire to change the status quo. Huang Jizhong translated it as &quot;正人君子&quot;. &quot;正人君子&quot; used to refer to people with good conduct. It was the ultimate goal of ancient China and had a profound influence in Chinese history. Lin Yupeng, a translator born after the two translators, translated this as &quot;真正的绅士&quot;. It can be seen from this that translators in different eras are very different in the translation of the same word due to the influence of the era at that time. In addition, there are some examples in the text, such as &quot;married&quot; and &quot;my wife&quot; were translated by two translators as &quot;出阁&quot;, &quot;结婚&quot; and &quot;吾妻&quot;, &quot;内人&quot; respectively. These are the two concepts of hermeneutics---&quot;effective history&quot; and &quot;pre-understanding&quot;. The so-called effect history means that history produces effects by restricting our historical understanding. Here, the translation of the same text by the two translators is consistent with their own social and historical environment. The social environment and social development of the era in which the two translators lived both affected and restricted the two translators' understanding of the original text.<br /> During the translation process, the translator will let his pre-understanding and experience come into play, thus forming different understanding and expression of the same text. Because of this, there will be different versions of the same literary work in the same era, and different versions of the same literary work will appear in different times. Therefore, the co-existence of the two versions of Uncle Tom's cabin in completely different styles is reasonable from the point of view of Gadamer's hermeneutics. Similarly, the retranslation of other literary texts and the existence of multiple versions of translation works are also reasonable.<br /> <br /> =====3.1.3. Contrastive Study of Syntax=====<br /> <br /> 4.“But why, of all others, choose these?” said Mrs. Shelby. “Why sell them, of all on the place, if you must sell at all.” (Stowe, 2011:44)<br /> <br /> 林译：爱密柳曰：“君既欲卖，胡不再谋，而必卖此二人？尔知汤姆为极忠挚义之人,小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” (林纾&amp;魏易，1981：14)<br /> <br /> 黄译：“可是为什么偏偏要挑这两个呢？”谢尔贝太太问道：“即使非买不可，在园上这么些黑人，为什么一定要卖他们呢？” （黄继忠，1993:30）<br /> <br /> In this example, Lin Shu added “尔知汤姆为极忠挚义之人，小海雷又意里赛独子，尔何忍心鬻此二人？纵为势所迫，亦何必属之此伧？” to express the anger of Shelby's wife and her extreme disapproval of Shelby's behavior. On the whole, Lin Shu adopted the strategy of free translation here, while Huang Jizhong's translation was quite consistent with the original text, using the strategy of literal translation.<br /> <br /> According to Gadamer's hermeneutics, as special readers, translators selectively accept textual information due to historical factors of their own understanding ，and incorporate their own aesthetic concepts into their translation works. Therefore, their translation methods will also be different. The interpretation of artistic works is closely related to the translator's understanding and expression of the source text in the translation process. “Translation is a dynamic process from understanding to expression, and the master of this process is the translator.” ( 柳晓辉, 2010: 125 )Translators cross the barriers of different languages and cultures and build a bridge between the source language and the target text. However, as Gadamer emphasizes, the text is open to all ages and enters into the field of meaning of the understander, so the translator's interpretation will inevitably conflict with the objective existence. To this end, translators must play an active and subjective role and adopt different strategies for selection and adaptation. Here, Lin Shu integrated his own aesthetic concepts into his translation work and exerted his own subjectivity, thus forming a different translation version from Huang Jizhong. This also further reveals that the interpretation of text in the translation process from the perspective of hermeneutics can reveal the process and mechanism of translator's understanding of text in translation activities.<br /> <br /> 5. …and the arrangements of the house, and the general air of the housekeeping, indicated easy, and even opulent circumstances. (Stowe, 2011: 2)<br /> <br /> 林纾：其一人文秀，家亦少康，名解而培。(林纾&amp;魏易，1981：3)<br /> <br /> 黄继忠：跟他一起谈话的那位谢尔贝先生倒是个绅士模样的人；屋子里的陈设和气派都说明此人家道小康，甚至可以说得上颇为富裕。（黄继忠，1993:1）<br /> <br /> This example comes from the first chapter of the novel. At the beginning of the article, the author introduces the characters of the novel. Comparing the translations of the two translators, we can see that Lin Shu's translation should be more concise and refined. The original author's description of the environment has been deleted in Lin Shu's translation. It may be that the translator believed that this was not important for the development of the novel. This long sentence of the original text was simplified by Lin Shu to four words &quot;家亦少康&quot;, while the translation version of Huang Jizhong almost matched the original content. In the translation of this sentence, the translation methods adopted by the two translators are also completely different.<br /> <br /> In the field of translation, people often liken translators to shackled dancers. This metaphor vividly describes that while the translator is restricted by the original author and the original text during the translation process, he must use his subjective initiative to reshape the work. Traditional translation theory values the author and the original text, treats the original as authority, and treats &quot;faithfulness&quot; as the highest standard of translation. Hermeneutics redefines the &quot;prejudice&quot; caused by the historicity of understanding, and provides an effective basis for the translator's subjectivity and the rationality of creative treason in the field of translation studies. In the above two examples, the two translators, while being influenced by the historical society in which they are located, also gave full play to their subjectivity, especially Lin Shu. This also tells us that the translator's subjectivity plays an important role in literary translation.<br /> <br /> ====3.2. Comparative Analysis from A Cultural Perspective====<br /> <br /> British anthropologist Taylor believes that culture is &quot;a complex whole including knowledge, beliefs, arts, morals, laws, customs, and other abilities and habits learned by people as members of society&quot;.(Hebding&amp;Glick,1992：37) Language is the carrier of culture. A text is generated from a specific cultural context, and it must also include the characteristics of the culture. When translators translate one text into another language，the translator must bring the characteristics of his own culture when reading and interpreting the source text because the translator's language and culture are different from the original author's culture.<br /> <br /> =====3.2.1. Analysis from A Religious Perspective=====<br /> <br /> A major feature of Uncle Tom’s Cabin is that it contains a lot of religious elements. In translating this religious content, the two translators took radically different approaches. That is, Lin Shu's selective translation of religious content, most of which is carried over or not translated directly. However, Huang Jizhong conveyed the Western religious intentions to his readers at that time. For example:<br /> <br /> 6. “…, but I didn’t think any Christian legislature would pass it！” (Stowe, 2011: 95)<br /> <br /> 林纾：吾思文明之国，法当不如此。 (林纾&amp;魏易，1981：34)<br /> <br /> 黄继忠：但是我相信任何一个基督教国家的立法机关都不会通过这种法令的。（黄继忠，1993:72）<br /> <br /> In the above example, &quot;Christian&quot; is an exact word for Christ. In the translations of the two translators, Lin Shu chose to omit it, while Huang Jizhong chose the method of literal translation. This was not only related to the era in which the two lived, but the play of the two translators ’subjectivity also played a great role. In the era which Lin Shu was, although Christianity had begun to spread on the land of China, the public acceptance rate was still low. Therefore, Lin Shu omitted the relevant words or used some words with Chinese culture to replace them. By the time Huang Jizhong was in, people's acceptance of these words had greatly increased. Therefore, it is appropriate to choose the method of literal translation.<br /> <br /> This difference stems from the historical environment and historical status of the two translators being different from the object of understanding, which is the historicity of understanding. Translators and readers will always incorporate what belongs to their time in the process of understanding the original text, and that is what we called historicity. The purpose of translation is not limited to conveying the original intention of the original author, which reasonably explains the &quot;misreading&quot; phenomenon in translation. Lin Shu's downplay of religious content in the original work is an interesting phenomenon of &quot;misreading&quot;. This &quot;misreading&quot; also gives us a good explanation of why the same religious content can be understood and interpreted in two different ways.<br /> <br /> 7.There were others，which made incessant mention of “Jordan’s bank”,and “Canaan’s field”, and the “New Jerusalem”. (Stowe, 2011: 46)<br /> In the above example, there are many religious words, such as &quot;Jordan ’s bank&quot;, &quot;Canaan ’s field&quot;, and &quot;New Jerusalem&quot;. Lin Shu chose to omit them, while Huang Jizhong chose to translate them literally, translating them into “约旦河岸”、“迦南战场”and“新耶路撒冷”. These words are all from Bible and contain a wealth of referential meanings. The development of Christianity in China in the two eras was different, which was the key reason for the difference in translation between the two translators. Lin Shu's translation version is related to his era, and is closely connected with his own translation purpose. The different translation versions of the two translators are in line with their own horizons and knowledge structure, and they can also meet the readers' expectations. The different treatment methods for the religious content appearing in the original text fully reflect the translator's subjectivity and creativity. Both translators have contributed wonderful translation versions to readers of different eras.<br /> <br /> From a perspective fusion perspective, Gadamer believes that &quot;the horizon is the area of view, and this area encompasses everything that can be seen from a certain standpoint.&quot; Understanding is to place yourself in the traditional process, to make the past and the present continually merge. The so-called translation is that in a cross-cultural historical context, a historic translator blends his horizon with the horizon of the original text to form a new horizon, and the process of re-fixing the new horizon to form a new text with language symbols infiltrating the target language culture. (朱健平，2006:69-74)The main body of understanding (translator or reader) and the author of the original text have their own unique horizons. When the original works cross different nationalities, languages, and eras, and enter a completely strange social and cultural context, translators can only play creatively to make his own views closing to the horizon and historical environment of the original author. However, no matter how hard the translator tries to enter the thoughts and feelings of the original author or imagine himself as the original author, he cannot completely get rid of the original vision, nor can he really enter the author's vision. Therefore, the translator has to form a new horizon between the horizon of the strange original author and the horizon of his own. Creative treason is a necessity in understanding. The generation of meaning requires creative thinking and moderate treason under normative constraints.<br /> <br /> =====3.2.2. Analysis from Cultural Image=====<br /> <br /> Gadamer pointed out in Truth and Method that understanding is not a process of reproduction, but a process of creation. It can also be said that as long as people are thinking, different understandings will arise. For some cultural images in the original work, the translations of the two translators are also different. For example：<br /> <br /> 8. As a fire in her bones, the thought of the pursuer urged her on.（Stowe, 2011:73）<br /> <br /> 林译：而意里赛此时，心绪兔起鹘。（林纾&amp;魏易，1981：25）<br /> <br /> 黄译：一想起后面的追兵，她就五内如焚。急着想向前逃命。（黄继忠，1993：49）<br /> <br /> The word &quot;fire&quot; was used to describe Eliza's internal fear and anxiety while she was trying to save her son when the disaster came. Here, Lin Shu replaced “fire” with two animals, rabbit and falcon. In traditional Chinese culture, rabbits are docile and fragile, just like Eliza; and falcons are agile and fierce birds, just like black slave traders. Huang Jizhong translated “fire” into “五内如焚”, which vividly reproduced Eliza's anxious heart at the time. Lin Shu used domestication here, while Huang Jizhong used alienation.<br /> <br /> In the above example, the horizon of the two translators and the original author merged in different forms, thus forming two different translation versions. While the translator strives to get closer to the original author's horizon, the two translators also strive to integrate with the horizon of the readers of their time, so they adopted a more acceptable expression for the target reader of the time. The language used in China in Lin Shu ’s time was classical Chinese, and the expression was more obscure, so Lin Shu replaced “fire” with two animals to reflect the characters in the text. In the era of Huang Jizhong, literature has further developed, and the official language used in China has also become vernacular, so he used the four-word &quot;五内如焚&quot; to translate. The reason why two different translation methods can be accepted by the target readers of the era is that the translator tried hard to integrate with the reader's horizon.<br /> <br /> From the perspective of hermeneutics, the text is only a semi-finished product, which is in the process of understanding. The meaning of the text and the translator's understanding are in a constantly changing process, and they are constantly evolving. Understanding is not a one-time act, but an endless process of integration between the &quot;Horizon&quot; of original text and the translator’s &quot;Horizon&quot;. Each understanding is a process of generating textual meaning. The possibilities of textual meaning are endless, and textual meaning is a source of endless meaning.<br /> <br /> 9. The married couple were enjoying their honeymoon.（Stowe, 2011:215）<br /> <br /> 林译：彼夫妇在蜜月期内，……（蜜月者，西人娶妇时，即挟其妇游历，经月而归）。(林纾&amp;魏易，1981:75)<br /> <br /> 黄译：正值新婚夫妇在……欢度蜜月，……（黄继忠，1993：143）<br /> <br /> A text is generated from a specific cultural context, and it must also include the characteristics of the culture（李磊，2008）.In the above example, Lin Shu used the method of literal translation and annotation when translating the word &quot;honeymoon&quot;, so that the readers at the time could understand it. At that time, there was little cultural exchange between China and the West, so if Lin Shu used the literal translation method, it may cause readers to be unable to understand the word. Here Lin Shu adopted the method of annotation to translate the word, which is also a reflection of his efforts to integrate with the reader's horizon. Huang Jizhong directly adopted the literal translation method to convey the original imagery. Both the original text and the translated text exist in their respective historical conditions and horizons. Even if the translator tries his best to enter the world of the meaning of the original text and try to understand the intention of the original author, it will inevitably impose her own ideas and purposes. Coupled with the different historical environments of the two translators, the translation strategies used by them are certainly different.<br /> <br /> From the perspective of hermeneutics, literary translation is actually a process of interaction between text and readers. Because readers of different times are constrained by their own experience, intelligence, and aesthetic tastes, they have different expectations and evaluations of the translated text. The Reception Aesthetic theory pays much attention to the reader and emphasis on the uncertainty of the text, which have brought about a diversity of values and an open way of thinking. (邹广胜，2001，（4）：2) . Understanding of the text is inseparable from the initiative of the reader. The translated text must also exist in the creativity and participation of readers. Readers of different ages have different understandings of the same cultural image. Therefore, in the process of translation, the translator should not only merge with the horizon of the original text, but also the horizon of the readers that the translation work is aimed at. Only in this way, the works translated by the translator can be understood by the readers of the time, and can be admired by the readers. The majority of our translators can draw enlightenment: when translating, while observing the principles of &quot;faithfulness, elegance, and elegance&quot;, we must also take into account the reader's understanding.<br /> <br /> ===Conclusion===<br /> <br /> In the above, under the guidance of hermeneutics, we have conducted a comparative analysis of the two Chinese versions. Through the above analysis, the three major concepts contained in hermeneutics—historicity of understanding, fusion of horizons, and effective history have brought us some inspirations: 1.The existence of multiple translations is reasonable. Translation is a special interpretative act, which is based on the translator's own understanding, so it will inevitably carry the personal trace of the translator. Based on their different experiences and views, translators make different interpretations of the same text in the process of translating, resulting in different translation works. 2. Creative treason is inevitable. A correct understanding of &quot;creative treason&quot; will help translators to bravely accept the challenges and find the correct solutions when facing translation difficulties caused by cultural differences between China and the West. 3. The changes of translation works can reflect social change. On the whole, hermeneutics can effectively explain some translation phenomena and provide a new perspective for translation studies.<br /> <br /> ===Bibliography===<br /> <br /> Gadamer, Hans-Georg. Truth and Method[M]. Beijing: Peking University Press, 1999:250.<br /> <br /> Hebding, Daniel E. &amp; Glick, Leonard. Introduction to Sociology: A Text with Reading[M]. New York: McGraw-Hill, Inc., 1992:37.<br /> <br /> Stowe, Harriet Beecher. Uncle Tom’s Cabin[M]. Jilin: Jilin Publishing Group Co., Ltd, 2011:2、3、44、46、73、95、132、215.<br /> <br /> Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:56.<br /> <br /> 陈宏薇.新编汉英翻译教程[Z].上海:上海外语教育出版社, 2004:24.<br /> <br /> 洪汉鼎.诠释学：真理与方法[M].北京：商务印书馆, 2010:459.<br /> <br /> 黄继忠.汤姆大伯的小屋[M].上海:上海译文出版社, 1993:1、3、30、49、72、94、143.<br /> <br /> 李磊.从伽达默尔哲学阐释学看Uncle Tom’s Cabin 的两个中译本[D].上海外国语大学硕士学位论文, 2008.<br /> <br /> 林纾,魏易.黑奴吁天录[M].北京:商务印书馆, 1981:3、4、14、25、34、45、75.<br /> <br /> 柳晓辉.译者主体性的语言哲学反思[J].外语学刊, 2010，（1）：122-125.<br /> <br /> 谢天振.翻译的理论建构与文化透视[M].上海：上海外语教育出版社，2000:204.<br /> <br /> 邹广胜.读者的主体性与文本的主体性[J].外国文学研究, 2001,（4）：1-7.<br /> <br /> 朱健平.翻译即解释:对翻译的重新界定----哲学诠释学的翻译观[J].解放军外国语学院报, 2006,（2）：69-74.<br /> <br /> 郑立平,易新奇.翻译过程中文本理解的解释学阐释[J].外语学刊, 2015,（04）:101-104.<br /> <br /> 章启群.意义的本体论----哲学阐释学[M].上海:上海译文出版社, 2002:77.<br /> <br /> ==Comparisons of Translation in China and Western Countries from Different Historical Perspectivesr 彭丹 Peng Dan==<br /> <br /> ==On Subtitle Translation of Why Women Kill from the Perspective of Functional Equivalence Theory 唐铭 Tang Ming==<br /> <br /> ==The Breakthrough and Innovation of Dong Qiusi’s Translation Thoughts 娄灿灿 Lou Cancan==<br /> <br /> ='''Translation Criticism'''=<br /> <br /> <br /> ==On Translation Criticism-based on back-translationTranslation 丁代凤 Ding Daifeng==<br /> <br /> ==Analysis of Liang Shiqiu's domestication and Foreignization translation strategies on the Shakespeare's plays. 苏琳 Su Lin==<br /> <br /> ==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia==<br /> <br /> ==Contrast between literal translation and free translation 刘艺 Liu Yi==<br /> <br /> ='''Cultural Differences'''=<br /> <br /> <br /> ==The Translation of English and Chinese Idioms from the Perspective of Cultural Differences 李凌月 Li Lingyue==<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 马娟 Ma Juan==<br /> Abstract: English interpretation as a cross-cultural social activity refers to the cultural differences between English and Chinese. Because of cultural differences in these asapects such as historical background , customs, religion and the way of thinking, English interpretation is necessary to take all of these influences into consideration and the interpreter must have a penetrating mind of the cultural differences.When the interpreter does English interpretation, he must know the coping strategies to grapple with these problems caused by cultural differnences so as to transmit the proper,correct and decent information to the target audiences.<br /> <br /> Key words: Cultural differences; English interpratation; Coping strategies;--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:15, 31 October 2020 (UTC)<br /> <br /> ==Polysystem Theory and Cultural Turn 吴琪 Wu Qi==<br /> <br /> ==The influence of cultural differences on translation methods 姚佳 Yao Jia==<br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> <br /> <br /> ==='''摘要'''===<br /> <br /> <br /> ===Introduction===<br /> The long-term transmission of culture must depend on language. Language has always been an important basis for cultural inheritance. And it is also one of the tools used by different cultures in communication. The exchanges between different countries and regions have deepened in recent years. The demand for translation activities has been increasing, and the requirement for translation quality has also been gradually improved. Translation is a cultural communication activity between different countries. It is not only the conversion of two sets of language symbols. In a sense, translation has gone beyond language and become the cultural transmission between countries. There are some differences between Chinese and Western social values and ways of thinking. So it is easy to make mistakes in English translation if many words are simply understood from the expression. In addition, different nationalities are often influenced by their own cultures in the process of historical development, which will also lead to mistakes in Chinese and English translation. In the face of cultural differences, we should choose appropriate translation methods to achieve the purpose of communication. In recent years, the focus of translators has gradually shifted from language level to cultural level. They began to study translation methods from a cultural perspective.<br /> <br /> ===The Main Aspects of Cultural Differences in Translation===<br /> <br /> Translation is the process of transforming a relatively unfamiliar expression into a relatively familiar one. Wang Zuoliang, a famous translator and linguist, once said that translators are dealing with individual words, but they are facing with two large cultures.(42) Therefore, translation should include not only language but also culture. The development of each country's language has gone through a long process of cultural accumulation and it is influenced by its own history, culture, ethics and many other aspects. The differences between English and Chinese are mainly reflected in the following aspects: historical background, way of thinking, and social customs.<br /> <br /> 2.1 The Historical Background<br /> <br /> <br /> <br /> 2.2 The Thinking Mode <br /> <br /> <br /> <br /> 2.3 The Social Customs<br /> <br /> ===Influences of cultural differences on translation===<br /> <br /> 3.1 Lexical gap <br /> <br /> <br /> <br /> <br /> 3.2 Semantic conflict<br /> <br /> <br /> 3.3 Use specific translation methods from the perspective of cultural differences<br /> <br /> ===The skills to choose the proper translation methods from the perspective of cultural differences===<br /> <br /> 4.1 Focus on the work itself<br /> <br /> <br /> 4.2 Focus on the reader <br /> <br /> <br /> 4.3 Focus on the dynamic equivalence of translation<br /> <br /> ===Conclusion===<br /> <br /> ===Work Cited===<br /> <br /> ==Study of Domestication and Foreignization in Cross—Culture Translation 李海泉 Li Haiquan==<br /> <br /> ==Characteristics of Cultural Differences in Interpreting and Corresponding 吴琼 Wu Qiong==<br /> <br /> ==The Translation of Cultural Elements in Tourism Promotional Materials Under Skopos Theory 杨子泠 Yang Ziling==<br /> <br /> Abstract<br /> Abstract: As China has become an increasingly large inbound tourism country, efforts are put in the promotion of supporting facilities, among which promotion service, especially Tourism Promotional Materials (TMP), is the main way to introduce to not only Chinese tourists themselves but also the great number of foreign travelers, China’s scenic spots, natural resources and culture, and thereby arouse their interest in the landscapes and ancient cultural relics. Therefore, the translation of TMP is of vital importance in the publicity. Based on Skopostheory, this paper first introduces TPMs, then compares cultural differences in TPM translation. Finally it concludes some strategies and techniques used in TPM translation under the framework of Skopostheory. The author deems it that TPM translation should stand on the side of foreigners, meanwhile revealing the main idea of Chinese original sources.<br /> <br /> Key Words: TPM translation cultural differences Skopostheory<br /> <br /> 摘要：中国已经成为了一个旅游大国，政府开始大力完善旅游配套设施，其中旅游宣传服务，特别是旅游宣传资料是向中外游客介绍中国旅游景点，自然资源以及文化的最主要方式，从而激起他们对自然风光和古文物的兴趣。因此，旅游宣传资料对宣传工作十分重要。文章从目的论的角度出发，首先介绍了旅游宣传资料，然后对比了宣传资料中中西方的文化差异。最后基于目的论，文章总结出几种实际可行的翻译策略和技巧。作者认为旅游宣传资料的翻译应该站在外国游客的立场来传达中文素材的主要信息。<br /> <br /> 关键词：旅游宣传资料翻译 文化差异 目的论<br /> <br /> I. Introduction <br /> China is a large tourism country with rapid development of tourism industry. Tourism has become increasingly more an entertainment enriching people’s spiritual life. Serving as promotional materials and advertisements, Tourism Promotional Material(hereafter referred to as TPM) plays increasingly important role in introducing China’s specialty to the world. With the development, more and more TPMs have been translated into English in recent years. Indeed, some good translation materials leave a strong impression on travelers to China, especially those from English speaking countries. It is truly a better way to attract more visitors across the world, to introduce famous scenic spots, tourist attractions and food specialties and to promote the development of international tourism and cultural communication.<br /> TPM, to a certain degree, is a trademark and an external promotion work of tourism destinations, revealing the first image of the tourist attractions, landscapes and the surrounding environments. A good translation is of great significance in the first impression it leaves on potential visitors.<br /> Since TPM has a strong effect on the image of tourist attractions in domestic tourism industry, the study of it is of great importance. Mr. Liu Fagong (2012:70) once said, “some translation errors seem to be very slight, but it can reflect the international communicative competence of a certain area or a certain enterprise”. Inappropriate translation will not only lead to cultural misunderstanding, but also result in barriers in the development of international tourism as a whole.<br /> This thesis focuses on the possible strategies to improve the quality of TMP by comparing Chinese and western cultural differences. To guide the practice of Chinese TPM translation, various theories have been adopted and used, among which Skopostheory is going to be testified. The merits of it and the awareness of cultural differences are to be revealed. <br /> Therefore, it first introduces the definition and features of TPM. Then it reveals the difficulties in the translation of TPM caused by cultural differences. After that, the framework of Skopostheory is introduced and the methods and strategies of cultural translation in TPM is discussed under the framework of Skopostheory.<br /> <br /> II. Literature Review <br /> <br /> III. Difficulties in The Translation of TPM Caused by Cultural Differences<br /> <br /> IV. Tourism Text Sources Translation Under Skopos Rules <br /> <br /> V. The Translation of Cultural Elements in TPM Under Skopostheory<br /> <br /> VI. Conclusion <br /> <br /> References<br /> <br /> ='''Functional Equivalence'''=<br /> <br /> <br /> ==On the study and analysis of three kinds of beauty and transformation in the mid autumn festival prelude to water melody under the guidance of functional equivalence 林敏 Lin Min==<br /> <br /> ==Research on C-E Translation of Corporate Publicity Texts from the Perspective of Functional Equivalence 彭锐宏 Peng Ruihong==<br /> <br /> 摘 要：随着全球经济一体化进程的不断发展，越来越多的中国企业开始走向全球市场，企业外宣文本的英译文本成为了国内企业与国外客户联系的桥梁。查阅我国企业外宣文本的英译本，其中不乏大量优秀译作；但同时,也有不少企业外宣英译文本的质量有待提高。在翻译企业外宣文本实践中，奈达的功能对等理论能够很好地指导企业外宣资料的翻译。因此本文将中外外宣文本进行对比，并对中外企业外宣文本的英译做深入的分析探讨。<br /> <br /> 关键词：功能对等理论；企业外宣文本；翻译方法<br /> <br /> Abstract: With the further deepening of global economic integration, more and more Chinese enterprises are going to the global market and the English translation of enterprise publicity text becomes the bridge between domestic enterprises and foreign customers. The English translation of the publicity texts of Chinese enterprises includes a large number of excellent translations; But at the same time, there are many enterprises publicity English translation with bad quality. In the practice of translation of publicity texts of enterprises, Nida’s functional equivalence theory can well guide the translation of publicity materials of enterprises. Therefore, this paper compares China’s corporate publicity texts with foreign corporate publicity texts and makes deep discussion and exploration in C-E translation of corporate publicity texts.<br /> <br /> Key Words: corporate promotional materials; Functional equivalence; translation methods--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:12, 30 October 2020 (UTC)<br /> <br /> ==A study of Functional Equivalence in Translating the Prose——A Case Study on Cong Cong 汤伊然 Tang Yiran==<br /> <br /> ==Functional Equivalence Theory and Functional Translation in Translation Studies 阳慧 Yang Hui==<br /> <br /> ==A Study of Functional Equivalence in Translating Children's Literature---A Case Study on ''The Lion King'' 刘智伟 Liu Zhiwei==<br /> 摘要：儿童期是人生发育最重要的阶段，而儿童文学对于儿童的教育影响处于前位且是第一性的。儿童文学特别要求通俗易懂，生动活泼，这也就要求儿童文学翻译作品应根据儿童心理发展特点、基于功能对等翻译理调整翻译策略。本文主要是通过儿童特点、儿童文学特点，同时结合《狮子王》翻译策略与方法，对翻译对等理论进行更加深刻的解析。<br /> <br /> Abstract: Childhood is the most important stage of life development, and the influence of children's literature on children's education is in the first place. Children's literature is particularly required to be vivid and easy to understand, which requires that translation strategies should be adjusted according to the characteristics of children's psychological development and on the basis of functional equivalence translation theory. Based on the characteristics of children and children's literature, and combined with the translation strategies and methods of ''Lion King'', the thesis makes a more profound analysis of translation equivalence theory.<br /> <br /> Key Words: Children's Psychological Characters, Children's Literature, Equivalence Theory --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:59, 1 November 2020 (UTC)<br /> <br /> ='''History of Translation'''=<br /> ==Quality evaluation of translation 谭鑫洁 Tan Xinjie==<br /> <br /> ==='''Abstract'''===<br /> <br /> == Abstract: ==<br /> This article mainly discusses the history of Chinese translation from the Eastern Han Dynasty to the founding of New China to the present, and then discusses the history of Western translation from the fourth century BCto the seventeenth century to the present, and then compares the similarities and differences of Chinese and Western translations from the time of development of Chinese and Western translations and their origins.<br /> <br /> ==='''key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键字'''===<br /> <br /> ===Complete transcript of the content of the original work ===<br /> <br /> ===Same style and manner of writing===<br /> <br /> ===Equivalent effect===<br /> <br /> ===Discussion===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ==A Comparative Study on the Translation History in Western Countries and China 王煜 Wang Yu==<br /> 摘要：翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。<br /> <br /> 关键词：翻译史；西方翻译史；中国翻译史<br /> <br /> Abstract: Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.<br /> <br /> Keywords：Translation history; Translation history of the West; Translation history of China <br /> <br /> 1. Introduction: No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.<br /> <br /> 2. The Translation History of Western Countries<br /> <br /> 2.1 The First Stage: Translation in the Ancient Times<br /> <br /> The translation history of western countries first began in the the 3rd century B.C. &quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.<br /> <br /> 2.2 The Second Stage: Translation in the Middle Ages (4th-6th)<br /> <br /> 2.3 The Third Stage: Translation in the Middle Ages (11th-12th)<br /> <br /> 2.4 The Fourth Stage: Translation in the Renaissance Period<br /> <br /> 2.5 The Fifth Stage: Translation after WWⅡ<br /> <br /> 3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)<br /> <br /> ==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation 方洁玲 Fang Jieling==<br /> <br /> <br /> ==Translation manipulated by ideology 许静 Xu Jing==<br /> <br /> ==Comparison between the History of Chinese and Western Translation 周书尧 Zhou Shuyao==<br /> <br /> '''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.<br /> <br /> '''Key words:'''The history of Chinese,The history of Western,the stages of translation history,comparison<br /> <br /> '''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。<br /> <br /> '''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比<br /> <br /> '''Ⅰ.Introduction'''<br /> <br /> Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.<br /> <br /> ='''Literal and Free Translation'''=<br /> <br /> <br /> ==Rethink Literal and Free Translation 彭永亮 Peng Yongliang==<br /> <br /> ==Examine the display of translators’ subjectivity in literary translation from the translation outlook of cognitive linguistics 宋建茹 Song Jianru==<br /> <br /> ==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization 韦洪朗 Wei Honglang==<br /> <br /> ==Peter Newmark’s Improved Views on Literal Translation and Free Translation 魏亚菲 Wei Yafei==<br /> <br /> ==Contrast between Literal Translation and Free Translation 张雪仪 Zhang Xueyi==<br /> '''Abstract：'''<br /> <br /> The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.<br /> <br /> '''Key words：'''<br /> <br /> Translation strategies, Literal translation,Free translation <br /> <br /> '''摘要：'''<br /> <br /> 直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。<br /> <br /> '''关键词：'''<br /> <br /> 翻译策略，直译，意译<br /> <br /> '''1.Introduction'''<br /> <br /> The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.<br /> <br /> Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .<br /> <br /> '''2.Different views of &quot;literal translation&quot; and &quot;free translation&quot;'''<br /> <br /> In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.<br /> <br /> In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &quot; The principle of &quot;faithfulness, expressiveness and elegance&quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &quot;faithfulness and expressiveness&quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.<br /> <br /> In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &quot;Summary of Translation Theory&quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.<br /> <br /> <br /> '''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''<br /> <br /> The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.<br /> <br /> <br /> '''3.1 Literal translation'''<br /> <br /> Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.<br /> <br /> Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.<br /> <br /> Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:<br /> <br /> (1)домашнего (своего) вора не убережешься. 家贼难防<br /> <br /> (2)знать как свои пять пальцев (видно, как на ладони) 了如指掌<br /> <br /> (3)подлить масла в огонь 火上浇油<br /> <br /> (4)как рыба в воде 如鱼得水<br /> <br /> (5)как ножом по сердцу 心如刀割<br /> <br /> (6)как гром среди ясного неба 晴天霹雳<br /> <br /> (7)на добро отвечают добром 善有善报<br /> <br /> (8)копейка рубль бережет 财从细起<br /> <br /> (9)мечты сбываются 梦想成真<br /> <br /> (10)курица всегда следует за петухом 嫁鸡随鸡<br /> <br /> (11)чего мало, того и дорого (дорого то, что мало) 物以稀为贵(12)<br /> <br /> (12)изгонять яд с помощью яда 以毒攻毒<br /> <br /> (13)сидеть как на иголках 如坐针毡<br /> <br /> (14)действия громче слов 事实胜于雄辩<br /> <br /> (15)зарыть талант в землю 埋没人才<br /> <br /> (16)висеть на волоске 千钧一发<br /> <br /> (17)лить как из ведра 倾盆大雨<br /> <br /> The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. <br /> <br /> In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g: <br /> <br /> настоять на своем 坚持自己<br /> <br /> камень с души свалился 心里的一块石头落地<br /> <br /> связать свою судьбу 把自己的命运与……相连<br /> <br /> быть на голову 高出一头<br /> <br /> вбивать в голову 往脑子里灌<br /> <br /> блеснуть метеором 像流星一样一闪而过<br /> <br /> с мизинец 小拇指这么大<br /> <br /> It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.<br /> <br /> <br /> '''3.2 Free translation'''<br /> <br /> Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:<br /> <br /> (1)В Тулу со свим самоваром не ездят.<br /> 直译：去图拉不用带自己的茶炊。<br /> 意译：多此一举<br /> <br /> (2)Честь лучше бесчестья.<br /> 直译：尊重比不尊重好。<br /> 意译：礼多人不怪。<br /> <br /> (3)словно горя с плеч<br /> 直译：把山从肩膀下卸下<br /> 意译：如释重负<br /> <br /> (4)выеденного яйца не стоит<br /> 直译：一个空蛋壳不值钱<br /> 意译：鸡毛蒜皮，一文不值<br /> <br /> (5)чужими руками жар загребать<br /> 直译：用别人的手将红炭火拨成一堆<br /> 意译：坐享其成，不劳而获<br /> <br /> (6)ни рыба, ни мясо<br /> 直译：没有鱼也没有肉<br /> 意译：不三不四，不伦不类<br /> <br /> (7)лучше синица в руках, чем журавль в небе<br /> 直译：天上的仙鹤不如手中的山雀<br /> 意译：远亲不如近邻<br /> <br /> (8)На языке мед, а под лед<br /> 直译：嘴上甜得像蜂蜜，心里冷得像冰<br /> 意译：笑里藏刀<br /> <br /> (9)И на солнце есть пятна<br /> 直译：太阳上也有黑点<br /> 意译：人无完人<br /> <br /> (10)семь раз отмерь, один раз отрежь<br /> 直译：测量了七次后再剪裁<br /> 意译：三思而后行<br /> <br /> Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.<br /> <br /> '''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''<br /> <br /> There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.<br /> <br /> '''4.1 Literal translation'''<br /> <br /> In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:<br /> <br /> (1)Куй железо, пока горячо. 趁热打铁。<br /> <br /> (2)Беда не приходит одна. 祸不单行。<br /> <br /> (3)Сытый голодного не разумеет. 饱汉不知饿汉饥。<br /> <br /> (4)Век живи, век учись. 活到老，学到老。<br /> <br /> (5)Выше встанешь, дальше увидишь. 站得高，看得远。<br /> <br /> (6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。<br /> <br /> (7)Нет дыма без огня. 无火不生烟。<br /> <br /> (8)Шила в мешке не утаишь. 口袋藏不住锥子。<br /> <br /> (9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。<br /> <br /> (10)Выше лба уши не растут. 耳朵高不过额头。<br /> <br /> (11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。<br /> <br /> (12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。<br /> <br /> (13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。<br /> <br /> (14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。<br /> <br /> По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。<br /> <br /> ==Dialectical thinking in arguments between literal translation and free translation 甘奉玉 Gan Fengyu==<br /> <br /> ===Abstract===<br /> As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)<br /> <br /> ===Key words===<br /> literal translation, free translation, word-for-word translation, over free translation, unity of opposites<br /> <br /> ===摘要===<br /> 作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)<br /> <br /> ===关键字===<br /> 直译； 意译； 死译； 过度意译； 对立统一<br /> <br /> ===Introduction===<br /> Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.<br /> <br /> ===1.Dialectic thinking of the Unity of opposites===<br /> ===2.Word-for-word translation===<br /> ===3.Over free translation===<br /> ===4.Eclectic translation===<br /> ===5.Contradiction and unity in the process===<br /> ===5.1 Contradiction===<br /> ===5.1.1 Contradiction in definition===<br /> ===5.1.2 Contradiction in application filelds===<br /> ===5.2 Unity===<br /> ===5.2.1 Unity in translation goal===<br /> ===5.2.2 Unity in translation procedure===<br /> ===5.2.3 Unity in translation standard===<br /> ===6.Conclusion===<br /> ===Bibliography===<br /> <br /> ='''Document Translation'''=<br /> <br /> <br /> ==On translation of official documents of CangNan County 吴恺 Wu Kai==<br /> <br /> On Translation of Official Documents of Cangnan County<br /> <br /> Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)<br /> <br /> ==='''Abstract'''===<br /> As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.<br /> <br /> ==='''Key words'''===<br /> official document translation, Cangnan County, opening-up, Japan, South Korea<br /> <br /> ==='''摘要'''===<br /> 自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。<br /> <br /> ==='''关键词'''===<br /> 公文翻译 苍南县 对外开放 日本 韩国<br /> <br /> ==='''I. System and Translation of Official Documents of Cangnan County'''===<br /> <br /> The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.<br /> In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.<br /> To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.<br /> The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:<br /> First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.<br /> Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.<br /> Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.<br /> Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.<br /> <br /> ==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===<br /> <br /> Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.<br /> '''1. Details and Accurate'''<br /> As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.<br /> For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”<br /> '''2. Precise and Compact'''<br /> The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.<br /> For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”<br /> '''3. Programmed and Standardized'''<br /> The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.<br /> For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.<br /> Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.<br /> <br /> ==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===<br /> <br /> Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.<br /> If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:<br /> 1. Detailed Comparison of Types<br /> In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.<br /> For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.<br /> 2. Careful Consideration of the Translation of Chinese Characters<br /> There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.<br /> For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.<br /> 3. Mastery of the Equivalence of Semantic Meaning<br /> Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.<br /> For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”<br /> There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.<br /> <br /> ==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===<br /> <br /> Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.<br /> Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:<br /> 1. The Combination of Chinese characters and Hangul<br /> Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.<br /> For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.<br /> 2. The Usage of Refined Language<br /> In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.<br /> For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”<br /> 3. Mastery of the Equivalence of Semantic Meaning<br /> Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.<br /> For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”<br /> <br /> ==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===<br /> <br /> Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .<br /> The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.<br /> <br /> ===References===<br /> <br /> [1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).<br /> [2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).<br /> [3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.<br /> [4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. <br /> [5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.<br /> [6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.<br /> [7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.<br /> [8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.<br /> [9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.<br /> [10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.<br /> <br /> --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)<br /> <br /> ==The Translation Process and Methods of Translating English Long Sentences 周艺文 Zhou Yiwen==<br /> <br /> <br /> ===Abstract===<br /> ===Key words===<br /> ===摘要===<br /> ===关键词===<br /> ===Introduction===<br /> <br /> ===Conclusion===<br /> ===Bibliography===<br /> <br /> ==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory 张维虹 Zhang Weihong==<br /> <br /> <br /> ==='''Abstract'''===<br /> <br /> ==='''key words'''===<br /> <br /> News headlines; Skopos theory; translation<br /> <br /> ==='''摘要'''===<br /> 社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。<br /> <br /> ==='''关键字'''===<br /> <br /> ===Introduction===<br /> <br /> ===Skopos Theory===<br /> <br /> ===Features of News Headlines===<br /> <br /> ===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===<br /> <br /> ===Conclusion===<br /> <br /> ===Bibliography===<br /> <br /> ='''Comparative Studies'''=<br /> <br /> ==Comparison of Modes of Expression and Ways of Thinking between English and Chinese Language in Cultural Perspective 易欢 Yi Huan==<br /> ==='''Abstract'''===<br /> <br /> ==='''Key words'''===<br /> <br /> ==='''摘要'''===<br /> <br /> ==='''关键词'''===<br /> <br /> ==='''Introduction'''===<br /> <br /> ==='''Conclusion'''===<br /> <br /> ==='''Bibliography'''===<br /> <br /> ==Comparison of Functional Equivalence and Faithfulness, Expressiveness and Elegance 曾良 Zeng Liang==<br /> <br /> ==A Comparative Study on Nida’s Functional Equivalence and Skop 义子楚 Yi Zichu==<br /> <br /> ==A Simple Comparison between Nida and Catford’s Translation Theory of Equivalence 欧阳玲 Ouyang Ling==<br /> <br /> '''Abstract:''' Nida and Cartford shared the same period of translation studies but carried on their studies from different perspective. Nida put forward two types of equivalence as two methods to achieve his ideal equivalent response of receptors(芒迪，42). His equivalence theory was built on his ideas about nature of translation, which was the process of reproducing in the receptor language the message of source language(奈达，12). The nature and task of translation in Nida’s opinion formed a theoretical basis to set the equivalence theory in a comprehensive and systematic way. Cartford, in another way, held a idea that any theory of translation must draw upon a general linguistic theory and therefore proposed the equivalence at different linguistic levels between source language and target language(Cartford,1). The paper intends to develop a comparative study upon Nida and Cartford’s theory of equivalence and my thoughts on their application in translation practices.<br /> <br /> '''Key words:''' Nida, Cartford, equivalence theory, nature of translation<br /> <br /> '''摘要：'''<br /> <br /> '''关键词：'''<br /> <br /> '''1.Introduction'''<br /> <br /> '''1.1.Nida’s Theory of Equivalence'''<br /> <br /> Nida’s translation theories were formed along with the process of his translating the Bible. Through the reflection upon these translation practices, he defined the nature of translation and pointed the task of translators. Afterwards, he discarded the old term such as “literal”, “free” and “faithful” translation by putting forward the theory of equivalence(芒迪，42) . The equivalence in Nida’s theory can be achieved at two levels: formal equivalence and dynamic equivalence and he saw the two approaches to realize his ideal translation that equivalent effect between source language receptors and target language receptors. By bringing the two concepts up, Nida provided two directions when working on a translation work as well as standards of evaluating the work after it was done. Specifically, formal equivalence in Nida’s definition is the status of translation being equivalent with the source text in both contents and forms. To achieve this status, translators should be oriented towards the source text’s message and structure(芒迪，42). And dynamic, or functional equivalence, turned further to a new focus on the response of receptor. If the target language receptors react to the translation in the same way as source language receptors do to the source text, the success of a translation is then achieved in Nida’s functional equivalence theory. His theory put forward a new trend of translation studies at that time. Nida’s equivalence theory directed people to evaluate a translation by judging and comparing the response of receptors in stead of considering the correctness and accuracy of translation or comparing the formal and stylistic features between source language and target language. In a comprehensive and systematic way, Nida’s equivalence theory elaborated the approaches and the ideal status of translation based on his understanding on the nature of translation, and this equivalence theory has always been praised as his greatest achievement in translation studies.<br /> <br /> '''1.2.Cartford’s Theory of Equivalence'''<br /> <br /> Cartford’s translation theories were built on the discipline of linguistics, and his equivalence theory was included of course. Cartford stated in his book A Linguistic Theory of Translation the theory of translation is concerned with a certain type of relation between languages and is consequently a branch of Comparative Linguistics(Cartford, 20). His theory of equivalence was also originated his definition of the nature of translation, which is the replacement of textual material in one language by equivalent textual material in another language( Cartford, 20). His definition, in other words, portrayed the task for translators. In his opinion, in the process of translation, translators are supposed to replace every grammatical and lexical items in the source language with equivalents in the target language. So in this way, the equivalence in Cardford’s theory can be graded into different levels according to the extent of the replacement, and then he put forward the distinction of full translation and partial translation. Moreover, he raised another pair of concepts: textual equivalence and formal corresponding, and it may give a clearer picture for us to understand his theory. If the target language text can be judged by bilinguals or linguists equivalent with the source language text in any given discourse or occasion, the textual equivalence is achieved. As regards the formal corresponding, Cartford defined it as an approximate status when any target language category occupies, as nearly as possible, in the same place in the structure of the target language as the given source language category occupies in the source language. This pair of concepts presented two different degrees of equivalence and have become a valuable source in translation studies. <br /> <br /> '''2.Similarities and Differences'''<br /> <br /> 2.1.The Similarities between the Two Theories<br /> <br /> 2.2.The Differences between the Two Theories<br /> <br /> 3.My Thoughts on the Two Theories<br /> <br /> 4.Conclusion<br /> <br /> ==Comparision between the traslation systems proposed by Tan Zaixi and Yi Jing 石海瑶 Shi Haiyao==<br /> <br /> ==Comparison of translation theories by Eugene nida and Susan Bassnett 胡慧芳 Hu Huifang==<br /> <br /> ==A Comparative Study Between Lun Xun’s View of Translation and Venuti’s Translation Theory 司妤 Si Yu==<br /> <br /> ===Abstract===<br /> ===Key Words===<br /> ===摘要===<br /> ===关键词===<br /> ===Introduction===<br /> ====Lun Xun’s View of Translation====<br /> ====Venuti’s Translation Theory====<br /> ===Similarities and Differences===<br /> ====The Similarities Between Lun Xun’s View of Translation and Venuti’s Translation Theory====<br /> ====The Differences Between Lun Xun’s View of Translation and Venuti’s Translation Theory====<br /> <br /> ==A Comparative Study Between the Skopos Theory and Yan Fu’s Translation Thoery 吴一露 Wu Yilu==<br /> <br /> ==='''Abstract'''===<br /> <br /> Skopos theory and the theory put forward by Yan Fu, that is “ Faithfulness, Expressiveness and Elegance” are one of the most representative translation theories respectively in the history of Chinese and Western translation theories. And these two theories have a profound impact to Chinese and Western translation theories and practices. This paper will compare the similarities and differences between these two theories as well as their historical contributions and limitations. It aims to get a deeper understanding of Skopos theory and Yan Fu’s theory and a better application of theories in practice. In the meantime, the collision and comparative analysis of Chinese and Western theories will also promote the study of translation theories and provide a reference for guiding translation practice.<br /> <br /> ==='''Key words'''===<br /> <br /> Skopos Theory; Faithfulness, Expressiveness and Elegance; Hans Vermeer; Yan Fu<br /> <br /> ==='''摘要'''===<br /> <br /> 目的论和严复提出的翻译理论即 “信达雅”分别是中西方翻译理论史上最具代表性的翻译理论之一。并且这两种翻译理论对中西方翻译理论和实践产生了深刻的影响。本文将对比研究目的论以及“信达雅”的同异，结合比较这两种理论的历史贡献及局限,旨在加深对目的论和“信达雅”理解，并将理论更好地运用到翻译实践中。同时中西方理论的碰撞和对比分析，也会促进翻译理论研究和为指导翻译实践提供依据。<br /> <br /> ==='''关键词'''===<br /> <br /> 目的论；信达雅；汉斯·弗米尔；严复<br /> <br /> ==='''1. Introduction'''===<br /> <br /> Skopos is the Greek word for “aim” or “purpose” and was introduced into translation theory in the 1970s by the German linguists Hans J. Vermeer as a technical term for the purpose of a translation and developed in Germany in the late 1970s. The creation of Skopos theory is a significant achievement of western translation theories, providing a new perspective for translation study. In 1897, Yan Fu set down the triple translation criteria of “Faithfulness, Expressiveness and Elegance,” (Xin Da Ya), which influenced the development of translation practice and theory for almost half a century after it came into being and it still exerts great influence on contemporary TS. As now the scope of integration and exchanges between China and Western world are expanding to various fields, this paper will reexamine these influential theories by comparing their commonalities, differences and influences, so as to broaden our vision of translation theory study.<br /> <br /> ==='''2. Introduction of Skopos Theory and Yan Fu’s Theory'''===<br /> <br /> ===='''2.1 Skopos Theory'''====<br /> <br /> Skopos theory comprises the idea that translating and interpreting means to produce a target text in a target setting for a target purpose and target addressees in target circumstances (Vermeer, Hans J.1987a). This new-born theory breaks the limited and conventional translation studies of source-text oriented views and provides a new perspective for translation studies. Translators pay more attention to the translation, the readers, the social effect of the translation and communication function. <br /> <br /> ====='''2.1.2 The Development of Skopos Theory'''=====<br /> <br /> The creation of Skopos theory in not going to happen overnight; it is a gradual process that can the skopos theory become the core of functionalist approach, which is initially proposed by Hans Vermeer. Its formation and development experienced mostly three periods.<br /> <br /> (1) Katharina Reiss’s research <br /> <br /> The book Possibilities and Limits of Translation Criticism, written by Katharina Reiss in 1971, marked the appearance of German translation theories and was the first time raised the idea that text function could be listed as a standard of translation criticism and came up with thoughts of functional translation theory. The core of her translation theory is text typology, including informative text (content-focused), expressive text (form-focused), operative text (appeal-focused) and the auto-medial text, which laid a foundation of Skopos theory.<br /> <br /> (2) Hans J. Vermeer: Skopos theories and beyond<br /> <br /> Vermeer, Reiss’s student, casting off the chains of Translation Equivalence, thought: translation is not a mechanical language interpretation, but an activity with an aim or purpose. In skopos theory, the status of the source text is not as important as the target text. The source is an &quot;offer of information&quot;(Vermeer, Hans J. 1982.). According to Action Theory, human action is a kind of purposeful behavior in a given situation. In his opinion, translation also is such a kind of action with purpose on the foundation of a source text. Hence, Vermeer names his theory Skopos theory, a theory of purposeful action. Hans J. Vermeer believed that the purpose of a text determines the translation strategies. The most important ingredients determining the purpose of translation is readers. So translators should better to consider integrally both the purpose of translation and special circumstances of target-text readers before interpreting.<br /> <br /> (3) Justa Holz-Manttari and Christiane Nord: the theory of translational action and Function plus Loyalty Principle<br /> <br /> Manttari differentiated “translation” and “translational action”. She thought that “translation” is simply transformative action while “translation action” is more intricate behavior designed to transfer message overcoming culture and language barriers. In Christiane Nord’s Translating as a Purposeful Activity-Functionalist Approaches Explained, she defines the Skopos theory as the prime principle determining any translation process. But Nord also found there were some drawbacks of Skopos theory, so she putted forward the “loyalty principle”: the responsibility of translators towards to their partners in translational interaction. <br /> <br /> ====='''2.1.3 Rules of Skopos Theory'''=====<br /> <br /> There are three rules of Skopos theory, including skopos rule, coherence rule and fidelity rule.<br /> <br /> “The top-ranking rule for any translation is thus the ‘skopos rule’ (Vermeer), which means that a translation action is determined by its skopos; in other words, that is “ the end justifies the means” (Reiss Katharina &amp; Vermeer Hans J. 1984). As defined by Vermeer and translated by Nord, the Skopos rule states: “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation it is used and with the people who want to use it and precisely in the way they want it to function.” Whether the function of the source text or passages in the source text can be preserved or have to be modified or even changed all decided by the purpose of translation (Christiane Nord, 1997). The skopos is divided into three forms: translator purpose, communicative purpose of the translated text and the purpose of using some kind of translation strategies. <br /> <br /> Coherence rule talks about that the target text must be coherent with the source text, given target text receivers circumstances and knowledge (Pochhacker, Franz, 1995). Translators should pick out what is meaningful in the receivers’ condition. As elaborated by Nord, a communicative interaction can only be regarded as successful if the receivers interpret it as being sufficiently coherent with their situation. Under this rule, the receivers of the target text, as well as their cultural background, social circumstances, expectations, values and norms should all be taken into consideration as major factors to produce meaningful translations.<br /> <br /> The last rule concerns the intertexual coherence between target text and source text---the target text is determined by its skopos. It means the skopos of target text should share identical views with the intention of original author. In accordance to this, the form of the target text would be determined by both the translator’s interpretation of the source text and the translation’s purpose.<br /> These three rules connect with each other. Coherence rule and fidelity rule are subject to skopos rule. From above three rules, we come to a conclusion that the evaluation criterion of translation is “adequacy”—dynamic standard-- rather than “equivalence”. Therefore, translator should not be literalists who rigidly adhere to the words of the source text.<br /> <br /> ===='''2.2 Yan Fu’s Theory'''====<br /> <br /> ==='''3. Similiarities and Differences'''===<br /> <br /> ===='''3.1 The Similarities betweeen these Two Theories'''====<br /> <br /> ====='''3.1.1 Fidelity Rule and Faithfulness'''=====<br /> <br /> ====='''3.1.2 Coherence Rule and Expressiveness'''=====<br /> <br /> ====='''3.1.3 Skopos Rule and Elegance'''=====<br /> <br /> ===='''3.2 The Differences between these Two Theories'''====<br /> <br /> ====='''3.2.1 Different Theory Systems'''=====<br /> <br /> ====='''3.2.2 Different Translation Standards'''=====<br /> <br /> ====='''3.2.3 Different Translator Status'''=====<br /> <br /> ==='''4. A Comparative Study of the Contribution and Limitation of these Two Theories'''===<br /> <br /> ===='''4.1 Contributions of these Two Theories'''====<br /> <br /> ===='''4.2 Limitations of these Two Theories'''====<br /> <br /> ==='''5. Conclusion'''===<br /> <br /> --[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:53, 30 November 2020 (UTC)<br /> <br /> ='''Art of Translation'''=<br /> <br /> <br /> ==The Art and Science of Translation --Take the Literary Translation as an Example 桂一枝 Gui Yizhi==<br /> <br /> ==Study on the English Translation of Hunan Scenic Spots Names from the View of Culture Translation 刘欧 Liu Ou==<br /> <br /> Abstract<br /> <br /> Key words<br /> <br /> 摘要<br /> <br /> 关键词<br /> <br /> 2.1 The Abundant Resource of Hunan Scenic Spots <br /> <br /> 2.2 The Meaning of View of Culture Translation<br /> <br /> 2.3 The Existing English Translated Versions of Hunan Scenic Spots<br /> <br /> 2.4 The Strategy of English Translation of Hunan Scenic Spots Names from the View of Culture Translation<br /> <br /> Conclusion<br /> <br /> Bibliography<br /> <br /> ==A study of English Translation of Chinese Cultural Classics from the Perspective of Communication 余妮 Yu Ni==<br /> ===41.3.1 Abstract===<br /> ===41.3.2 Key words===<br /> ===41.3.3 摘要===<br /> ===41.3.4 关键词===<br /> ===41.3.5 The background and meaning of English Translation of Chinese Cultural Classics===<br /> ===42.3.6 The present situation of English Translation of Chinese Cultural Classics===<br /> ===42.3.7 What we can improve in English Translation of Chinese Cultural Classics===<br /> ===42.3.8 Conclusion===<br /> ===42.3.9 Bibliography===<br /> <br /> ==The Visible Images and Invisible Hands: An Analysis of Lefevere’s ManipulationTheory and Venuti’s Deconstruction of The Translator’s Invisibility 祝美梅 Zhu Meimei==<br /> <br /> In the early 1990s, Lefevere, a representative of the cultural school of translation studies and a well-known translation theorist, elaborated Manipulation Theory is his book Translation, rewriting and the Manipulation Literary Fame, in which he said: Translation is, of course, a rewriting of an original text. All rewritings, whatever their intention, reflect a certain ideology and a poetics and as such manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society. <br /> Lefevere, defines translation as a form of rewriting, thus treating translation as a form of creating another text image, just like literary criticism, biography, literary history, film, drama, fiction, falsification of anthologies and reader’s guides. But it doesn’t mean that translation is rewriting. Lefevere thinks rewriting includes some other forms, for example, historiography, anthology,, criticism and editing. He ven emphasized that translation creates the literary and cultural image of the original text, the original author, and the original text. All rewriting, regardless of its intention, reflects a certain ideology and poetics. Therefore, translation is actually the manipulation of the translator to the text, which makes literature work with a certain way in a particular society. In any case, the understanding of translation as rewriting or manipulation of the original text deepens people’s understanding of translation to a great extent. <br /> In Lefevere’s view, there are three elements influencing the function of translation. The first one is professionals within the literary system, including critics, reviewers, teachers and translators who will affect the acceptance of translated works; the second is patronage outside of that system. Patronage here can be seen as the powers that can further or hinder the reading, writing, and rewriting of literature, and the third is the dominant poetics. <br /> Lefevere’s translation theory represents an important turning point in the history of translation study. He developed Zohar’s poly-system theory. And he studies translation in cultural approach. <br /> Before the “cultural turn”, translation was seen almost as an exclusively linguistic process, in which the translator was required to find the TL equivalent for a SL expression and which was not influenced by any other factors than linguistic ones. But in fact, Lefevere’s translation theory could instruct translation activities in many cases. Based on the understanding of three control factors, the translator will solve problems encountered in the process of translation, exploring changes of translation strategies under various factors, mainly including ideology, poetics and patronages, which will be introduced in the next chapter. <br /> <br /> Three control factors <br /> Lefevere points that all literature works should be placed in a certain social and cultural environment. Thus its meaning and value is influenced by these factors. The audience’s apprehension of the work also differs for these factors. He emphasizes three factors manipulating translation: ideology, poetic and patronage.<br /> Introduction of poetics <br /> According to Lefevere, a poetics includes two components. One is the literary method which consists of literary genres, prototypical characters and situations, motifs, symbols. The other is the concept of the literature function. <br /> As a theory about the study of poetry and their skills, poetics is also a theory of literature and art. After choosing some types of practice at a certain period, while excluding others, the poetics is codified. Then it will have tremendous influence on the further development of the literary system. Lefevere holds that the translation methods adopted by the translators are carried out under the guidance of certain strategies of certain poetic factors. It exerts on the choices of words, sentecnes, even the style and translation strategies of the whole article. Translation has greatly influenced the exchange of different literary systems, not only in introducing new literary methods into a certain poetics, but also in whether the image of a writer or a work can be successfully introduced into another literary system. In Lefevere’s view, as the manipulatin of a translator, rewriting should be regarded as a cultural necessity in essence, because translators are bound to be influenced and constrained by different social and cultural factors in the process of translation. <br /> Rewriting under the guidance of poetics is an important part of the cultural system in which the rewriters produce works. Rewriters often adjust the original works to a certain extent to be in line with the dominant ideology and poetics of the period in which the rewriters lived, and to make the rewritten works accepted by as many audiences as possible. In order to adapt some famous works to the cultural background of various society and history, they have also been rewritten to varying degrees. As is mentioned above, works of the dominant poetics is what people called classics for future writers to follow. But “a poetics, any poetics, is a historical variable: it is not absolute.” For instance, poetics today differs from the dominant poetics of the Tang dynasty. In cater to the change of the dominant poetics, these canonized works will be adapted o rewritten. This is why some classical Greek works still have an impact on Western literature. Translators pay more and more attention on the poetic factors in translation, further developing translation theory. Poetics solve the problem of what literature should or can be, and deciding the role and influence of translation in the society to some extent. In the process of translation, emphasizing more on meaning and lesson poetic factors and literary component will make the poetic aesthetic sense of the original work disappear. <br /> Lefevere also points that any poetics transcend language, ethnic and political entities which is demonstrated by listing Multilanguage regions or various forms of social and political organizations in Africa share a common poetics. In his eyes, the poetics will not be adapted to any language, but the dominant poetics is dominated by the ideology. <br /> Introduction of ideology<br /> <br /> ==Cultural differences on English interpretation and the coping strategies 谭媛媛 Tan Yuanyuan==<br /> <br /> ==On Translation Strategies of Different Style, Taking English Journalistic Style and English Literary Style as an Example 张银柳 Zhang Yinliu==<br /> ==Translation Manipulated by Ideology 李泳珊 Li Yongshan==</div>

Wu Kai https://bou.de/u/index.php?title=20201130_trans&diff=106019 2020-11-27T11:39:28Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> A good example to illustrate this is the cuisine that is often still defined by national borders (but certainly also in even smaller regional units). The existence of Italian cuisine is undisputed, but you don't have to go to Italy to eat quite authentic Italian food. Of course, there have always been Europeanized variations of Chinese cuisine (e.g. with thickened sauces), and the Istanbul native who orders a kebab in Germany will be surprised that he is served flat bread and not a plate of cutlery.<br /> <br /> Eating habits, especially at breakfast, seem to be difficult to change, so that the author did not get used to the Chinese breakfast (rice soup with salty vegetable side dish) in China for years. <br /> ==Chang Huiyue 常慧月==<br /> When Italian spaghetti with bolognese sauce was announced one lunchtime in the cafeteria of Beijing University, the joy was great, at least until the dish could be tasted. Obviously only the outward appearance had been preserved here, the appearance of the spaghetti largely corresponded to that which one can see in cookbooks. However, in terms of taste it was a catastrophe, the tomatoes used had obviously been understood by the cook not as vegetables but as fruit and the noodles had been overcooked for an extra long time.<br /> <br /> Also with the enterprises there are such cultures, German enterprises are considered e.g. in many countries as well organized. Even manufacturing processes for the same products often differ from country to country, but are increasingly standardized worldwide, especially when a company has a patented process in several countries.<br /> ==Chen Han 陈涵==<br /> This can lead to interesting national solutions when the same task is set, namely to design a street cleaning vehicle:<br /> <br /> [[File:che1.jpg]]<br /> <br /> Street cleaning vehicle a) China<br /> <br /> [[File:che2.jpg]]<br /> <br /> Street cleaning vehicle b)<br /> <br /> Since the 1990s, the author has personally experienced the differences in working in a foreign Chinese software company in America (e.g. PC Express, later TwinBridge in Los Angeles), in a Chinese software company on the mainland (e.g. Suntendy, Beijing), in a German company in China and in a German-Chinese mixed company. These personal experiences flow into the present booklet.<br /> <br /> Thus, the term culture here is largely synonymous with tradition or philosophy, whereby tradition appears to be related to the past and philosophy often appears as reflected culture reduced to a few principles, and thus already consciously controlled and teleological. For these reasons, the author has chosen the term culture in the present context.<br /> <br /> ==Chen Hui 陈惠==<br /> Japanese production culture is known to us, the Chinese (here abbreviated CMPC) has hardly been investigated in literature, so this booklet has a pioneering character.<br /> <br /> In this booklet, the author draws on Geert Hofstede's comparative cultural model, which he discussed with him at the LMU in Munich on January 22, 2009, on fundamental observations on the Chinese economy from a macro perspective by Philip Huang, and on the results of a field study by Jianzhong Hong, Aino Pöyhönen, Kalevi Kyläheiku 1998-2000 (see bibliography). <br /> <br /> This booklet was prepared to be presented at the conference &quot;Beyond Japan - Values and Attitudes of Asian Production Cultures&quot; in autumn 2010. The author is grateful to Dirko Thomsen, AutoUni Wolfsburg, who invited the author to contribute to the conference.<br /> ==Chen Jiangning 陈江宁==<br /> '''Approaches/Perspectives'''<br /> <br /> The distinction between craftsman culture and trader culture has been established for some time. This means that in an economy, more emphasis is placed on developing products that are as perfect as possible, and constantly improving them. A dealer culture places more value on the profit that is made between the cheapest possible purchase and the most expensive possible sale. This distinction becomes clear when we examine a typical case of complaint: <br /> <br /> If a customer complains a product in a craftsman culture, then the salesman is concerned, offers an error free exchange product or a financial compensation and reports the product error further, sends the equipment possibly in, with the goal of letting the error, if it should occur e.g. at several devices, in principle of letting the development department eliminate the error. <br /> ==Chen Jiaxin 陈佳欣==<br /> In a dealer culture the service and satisfaction of the customer is more important, here it is more important to see if the customer is angry and reacts accordingly to his complaint with apologies and compensation offers. Feedback to the manufacturer is of secondary importance. <br /> <br /> Here are some of the countries that fall under the relevant categories:<br /> <br /> Craftsmen's Culture Retailer Culture<br /> <br /> Germany, France Poland, USA, China, Korea<br /> <br /> Another distinction is made between production and design cultures. <br /> <br /> In the 19th and 20th centuries, a production culture developed in mechanical engineering in the USA, whereas in Germany a construction culture developed. <br /> ==Chen Jingjing 陈静静==<br /> The experience of rationalization in the U.S. with the pioneer Frederick Winslow Taylor (1856-1915) was quickly received in Germany, among other things by establishing chairs of business administration in Berlin in 1904, Aachen in 1908 and Hanover in 1910. Accordingly, I follow Kunze in 2008 when he rejects Kothes' assertion that German production culture before 1914 is backward.<br /> <br /> In Germany as a culture of craftsmen, a diversification of products developed early on, which was made possible by constantly optimizing the product. Even in teams, the focus is still on the highly qualified individual who does his part of the teamwork independently and assumes responsibility.<br /> ==Chen Sha 陈莎==<br /> In the USA, the goal is rather the production of a cost-effective mass product. Responsibility was delegated to teams and budget control was introduced to control these teams. However, this is more in keeping with the lawnmower principle and does not apply to the appropriateness of the individual special product or the individual employee.<br /> <br /> This can be illustrated in an overview:<br /> <br /> [[File:233.jpg]]<br /> ==Chen Sunfu 谌孙福==<br /> '''The Japanese Production Culture''' <br /> <br /> After World War II, Japan did not have as many investments available as Germany, for example, through the Marshall Plan. Out of necessity, the Japanese economy therefore did what was possible, namely an optimization of existing machines, processes and personnel. This also resulted in the development of a special national production culture, the characteristics of which can be seen in an overview:<br /> <br /> [[File:566.jpg]]<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Today, the Japanese production philosophy is considered the pacemaker for new production technologies and the benchmark for modern industrial nations. Former Porsche boss Wendelin Wiedeking is an admirer and imitator of the Toyota Production System: &quot;Toyota is synonymous with consistency&quot;. It is the international standard by which the modernity of a factory is measured.<br /> <br /> The basic idea of the Japanese model was that storage costs were incurred because more was produced than purchased. So technologies were developed which ensured that the product was only (re)produced when the customer bought the product (production on demand). The higher costs of producing a single item are more than compensated by the savings in intermediate storage (and, in the case of slow-moving items, final storage) of products. This procedure is successfully used today, for example, in book production.<br /> ==Cheng Yusi 成于思==<br /> More important, however, is the idea that there should be as few production interruptions as possible, and if so, that these should be eliminated as quickly as possible. A typical phenomenon on the construction site is that work stops because a certain part / material to be installed has not been delivered on time. In production plants, a machine in the assembly line production breaks down and the whole production is stopped. This is where the Japanese philosophy comes into play, training the individual employee to the extent that he or she can repair minor defects on their own and assigning the responsibility to them to do so. For larger defects, a central team is available. <br /> ==Deng Jinxia 邓锦霞==<br /> This motivates them to ensure that these smaller defects do not occur in the first place and not only repairs the defect, but also thinks of a way to ensure that this defect does not occur in the future, i.e. they not only repair the defect, but also the cause of the defect.<br /> <br /> With production on demand, interruptions in production would also be conceivable if demand were to decline. Ideally, production then adjusts, i.e. it runs correspondingly slower or faster, depending on how strong demand is at the moment. The most important thing is that production is uninterrupted and trouble-free.<br /> <br /> 这促使他们确保这些较小的缺陷不会先出现，除了修复缺陷，还要想出一种防范此缺陷发生的方法，即，他们不仅修复缺陷，而且根除缺陷。<br /> <br /> 在按需生产的情况下，如果需求下降，生产也可能会中断。 理想情况下，生产会进行调整，即根据当前的需求量，生产速度相应地变慢或变快。最重要的是保证生产不间断且无故障。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:25, 26 November 2020 (UTC)<br /> <br /> 这促使他们确保这些小缺陷不会第一时间出现，一旦出现，不仅要修复缺陷，而且要想出避免缺陷再次发生的办法，即：他们不仅要修复缺陷，而且要找出缺陷出现的原因。<br /> <br /> 在按需生产的情况下，如果需求下降，生产中断的情况可能会出现。 然而在理想情况下，产量会根据需求进行调整，即根据当前的需求量，生产速度相应地减慢或加快，最重要的是保证生产无间断且不发生任何故障。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:27, 27 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> The Japanese reward system works in a similar way for innovations introduced by individual employees involved in the production process. Here, it is important that the person who had the idea receives a relevant sum of money immediately and unbureaucratically, long before the idea is implemented.<br /> <br /> Another element are the quality circles or Kaizen teams. These are smaller working groups that are responsible for a small part of the production. They should meet once at the beginning and then regularly at least once a week to openly discuss suggestions for improvement. <br /> <br /> Recently, other Japanese elements of production culture have also been mentioned, such as multi-divisional structures and decentralization. They are also found in the American production culture. <br /> ==Fang Jieling 方洁玲==<br /> The Japanese production culture, whose optimization was born out of necessity, proved to be more competitive than the cultures of other countries, which is why it quickly became the model, even the epitome, of modern production culture, and in the 1960s and 1970s it began a worldwide triumphal march.<br /> <br /> '''China - Factory of the world''' <br /> <br /> Today, however, China has replaced Japan and the other classic industrial nations as the factory of the world.<br /> <br /> [[File:fangjieling.jpg]]<br /> <br /> It also leads the emerging markets worldwide.<br /> <br /> In the projection of economic performance, Goldmann/ Sachs sees China ahead of the USA, India and Germany.<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> [[File:6.jpg]]<br /> <br /> So China is today again (after the period 0 A.D. until about 1200 A.D.) the leading economy in the world. One of the characteristics of the Chinese production culture is its continuity. For thousands of years, China has been producing products such as silk, tea, porcelain, etc. without interruption. Even though Chinese production was not a world leader in the period 1200 to 2000 A.D., it remained at a roughly constant level for a long time before it caught up with the Industrial Revolution in a rapid development. Such a long production culture is without equal worldwide.<br /> ==Gao Mingzhu 高明珠==<br /> It is still important to bear in mind that China is once again growing to become the leading economic nation, but in this most populous country not all Chinese are yet benefiting equally from this leadership role. This is easy to see when comparing the absolute figures (e.g. GDP in country comparison or related to the growth of its own GDP) with the relative figures (GDP/capita). Here is one such comparison with the USA:<br /> <br /> [[File:7.jpg]]<br /> <br /> I would like to start my analysis of the importance of production culture with a few questions:<br /> <br /> Does the production culture have anything to do with the rapid increase? Is it perhaps the cause of the increase? <br /> <br /> Obviously, the Chinese production culture has not been an international model for modern production culture. Could the reason for this be the problem that the production culture is culture-specific? What other reasons could there be? Are these reasons justified?<br /> <br /> In order to find clues to answer these questions, the Chinese production culture is examined and defined below.<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''Genuity of Chinese production culture'''<br /> <br /> The Silk Road has been documented since about the 5th century BCE, but gene analysis proves that it was used to trade domesticated plants and animals in both directions already about 10 millenia BCE. There is also proof of cultural exchange through this trade road. The following products manufactured in China were traded on it:<br /> <br /> ·Silk<br /> <br /> ·Tea<br /> <br /> ·Spices<br /> <br /> ·Ceramics/Porcellain<br /> <br /> ·Jade<br /> <br /> ·Bronze<br /> <br /> ·Lacquerware/Paints<br /> <br /> ·Iron<br /> <br /> ·Paper<br /> <br /> ·Gunpowder<br /> <br /> ·Furs etc. <br /> <br /> The Silk Road was of course used in both directions, gold, precious stones and for a long time glass were imported into China. If the New Silk Road can be built with rail roads, it will lower the costs and time of shipping several times compared to the current maritime container shipping.<br /> <br /> ==Gu Dongfang 顾东方==<br /> With the world's largest merchant ships, junks, which could hold up to 4000 tons, China also dominated maritime trade for centuries. Already in the 3rd century B.C. the Emperor's Canal was built in China for inland navigation.<br /> <br /> [[File:gdf.jpg]]<br /> <br /> Previous picture: Chinese junk from the year 1804.[ John Barrow, „Travels in China: containing descriptions, observations, and comparisons, made and collected in the course of a short residence at the Imperial palace of Yuen-Min-Yuen, and on a subsequent journey through the country from Pekin to Canton“, Cambridge Scholars Publishing 12.1.2010, ISBN 9781153190947, 302 pp., p. 59.]<br /> <br /> [[File:gdf2.jpg]]<br /> <br /> Ming period junk (14th century).<br /> <br /> In the period from the birth of Christ until 1200 A.D., China had the highest gross domestic product in the world. Only in 1200 was China overtaken by Western Europe.<br /> <br /> ==Guan Qinqing 管钦清==<br /> [[File:10.jpg]]<br /> <br /> Between 1200 and about 2000, China lagged far behind the West and was considered a developing country. Nevertheless, from 1700 until today, China has experienced the same population explosion as America and Europe.<br /> <br /> [[File:11.jpg]]<br /> <br /> While Europe ensured the food supply of the larger population at the end of the 18th century with the Industrial Revolution, China slept through this development and caught up with it in fast motion from 1900 with its first factories, from 1950 with centrally planned larger production units and from 2000 with private enterprises, at first mainly joint ventures, which led to an uneven development in the country.<br /> ==Gui Yizhi 桂一枝==<br /> The example of silk production in Japan and China already reveals the first differences in the production culture:<br /> <br /> In Japan, a loom was introduced that was copied thousands of times without a license, thus ensuring a nationwide standard. Silk from Japan was always woven in the same way, and buyers could always rely on the same product quality.<br /> <br /> In China there were various independent production facilities and regional traditions. So silk from China was of a variable quality.<br /> <br /> Another aspect of Chinese production culture is the ethnic component: <br /> <br /> ·Western companies have better cards in China if they use Chinese middlemen. <br /> <br /> ·Chinese companies that are active in Africa export their entire business model including employees, cook, buildings. <br /> <br /> ==Guo Lu 郭露==<br /> Nevertheless, today's Chinese production culture is no longer genuine, but is also more strongly influenced by history than the Japanese Western culture.<br /> <br /> Even party schools at the beginning of the 21st century are commissioning business faculties of American universities to conduct management training.<br /> <br /> '''Made in China'''<br /> <br /> The label &quot;Made in Germany&quot; was originally a British origin label to distinguish itself from poor quality German goods. It was only later that the mark of Cain became a trademark due to the improvement in quality.<br /> <br /> &quot;Made in China&quot; stands for cheap products, low wages, poor quality, mass production and plagiarism, hierarchical management and an &quot;ant-like&quot; workforce.<br /> <br /> <br /> 然而，如今中国的生产文化已不再封闭，比起日本受到西方文化的影响，中国受到历史影响的程度更深。甚至在21世纪初的党校也委托美国大学的商科对其进行管理培训。<br /> <br /> “中国制造”<br /> <br /> “德国制造”的标签原本是英国的标签，用来区别德国的劣质产品。直到后来，由于质量的提高，“德国制造”才成为商标。<br /> <br /> “中国制造”代表着廉价、低工资、劣质、大规模生产和剽窃、等级观念以及廉价劳动力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:48, 27 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> But in fact this is only an impression that applied to the first mass products in China; in the meantime the picture has changed.<br /> <br /> 1 At the beginning of the 21st century, the labor market in China appears saturated for the first time. This is accompanied by extreme wage increases. In the meantime, one has to pay almost as much for a man-day of an engineer with comparable qualifications in China as for an engineer-man-day in western industrialized countries.<br /> <br /> 2. The previously most important productive sector is being replaced by the service sector as the most important economic sector.<br /> <br /> 3. Following the example of Western companies that have consistently introduced quality assurance in China, the proverbial poor quality of Chinese products is now a thing of the past. In many companies, quality assurance is now also practiced.<br /> <br /> 但是实际上这个印象也只是停留在中国第一次大量生产的时候；在此期间的情形已经变了。<br /> <br /> 1.在21世纪初，伴随着工资的极度增加，中国劳动市场第一次出现饱和。同时，支付给相对合格的一名中国工程师一天的工资和西方工业国家的是差不多的。<br /> <br /> 2.之前最重要的生产部门现在已被作为经济领域中最重要的服务部门所取代。<br /> <br /> 3.西方公司在中国一向都有质量保证的规则，中国也正在向西方学习。总所周知的劣质中国产品也已不再出现。在许多公司中，质量保证这一规则正在被实行。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:14, 27 November 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 4. apart from the reproduction of products developed in the West, the first high-tech products that have been further developed in China (cell phones, notebooks, etc.) are already available.<br /> <br /> 5. Chinese companies are now buying companies worldwide with the required know-how (notebook division of IBM =&gt; Lenovo, Volvo etc.).<br /> <br /> 6. with a real ravenous appetite, Chinese managers devour bestsellers that explain Western management principles and apply them with playful curiosity and great zeal, such as team meetings. Meetings in Chinese companies are now more common (5 meetings/day) than in Germany (1-2 meetings/day).<br /> <br /> [[File:12.jpg]]<br /> ==He Changqi 何长琦==<br /> '''Characteristics of Chinese production culture'''<br /> <br /> '''Hierarchy'''<br /> <br /> Chinese companies are traditionally strictly hierarchical, with many levels. Authority gives face. As in other countries, functions are called together with the name as titles. According to Hofstede, the yardstick for hierarchy is the power distance index.<br /> <br /> '''Appreciation of age''' <br /> <br /> In addition to hierarchies based on professional positions, age also has a corresponding authority. Older people are seldom deported to retirement homes after their retirement, but live until death in the extended family, in which they fulfill tasks until the end. The neighborhood also takes care of the elderly people by involving them in work assignments (street cleaning, support for traffic regulation) depending on their readiness.<br /> ==Hu Baihui 胡百辉==<br /> The older brother automatically has a more prestigious position than the younger one. In Chinese, kinship terms are strictly separated into &quot;older&quot; or &quot;younger&quot;. The preceding adjective &quot;alter&quot; in the confidential form of address is an honorific. <br /> <br /> In business life, too, older employees are respected because of their life experience (and possibly because of the large network of relationships to be expected). <br /> A positive side effect is that the experience remains in the company. New research also shows in the West: older employees are often underestimated, their experience must be used more and knowledge can be kept in the company.<br /> <br /> '''Concept of Face'''<br /> <br /> For the protection of the individual, there is the face concept, where everyone can preserve his or her honor, even if mistakes have been made or someone is inferior. For this purpose, unwritten rules (institutions) are observed in the company: No one criticizes the other person in front of others. If criticism must be exercised, then indirectly. A request is not rejected directly, there is no &quot;No! The Chinese employees are particularly sensitive to the nuances, to the &quot;maybe&quot; and know how to classify it accordingly without being damaged.<br /> <br /> 哥哥的地位自然比弟弟高。在汉语中，亲属称谓严格分为“长”和“幼”。前一个形容词“alter（改变）”在亲密形式中是一个敬语。<br /> 在商业生活中，年长的员工也会因为他们的生活经历而受到尊重（也可能是因为他们所拥有的庞大关系网）。一个积极的副作用是这种经验仍然存在于公司。新的研究还显示，西方国家的老员工往往被低估，他们的经验必须得到更多的利用，知识才能留在公司。<br /> <br /> ”面子的概念“<br /> 面子这个概念是为了保护个人，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的。为此，公司遵守不成文的规则（制度）：不要在大众面前批评别人。如果必须进行批评，那么就委婉间接的说出来。一个人的请求不会被直接拒绝，我们不会直接说“不！”中国人对此的细微差别可能会有相应的分类。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:50, 27 November 2020 (UTC)<br /> <br /> “面子的概念<br /> 面子之所以存在，是为了自我保护，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的也是如此。为此，公司有个不成文的规定：不要当众批评别人。如果必须要批评，那就婉约一点。我们不会直接拒绝别人的请求，不会直接说“不。”中国人对于这一观念极为敏感，他们“或许”知道怎样进行区分才能避免伤害。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:52, 27 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> '''Incompetence of bosses leads to informal decision-making'''<br /> <br /> Traditionally, the position of General Manager, or even senior positions in Chinese companies, is preferably filled with people who can be trusted by those making the appointments. The greatest trust is given by a family relationship, somewhat less so in the case of friendship between families or between individuals, or by shared periods of life, such as being born in the same village, attending the same school, the same club, etc. Of course, professional qualifications also help to build trust, but this is only of secondary importance. <br /> <br /> The leadership positions of the largest state-owned enterprises in China are assigned by the party, and these positions are cobbled together with correspondingly deserving cadres. <br /> <br /> One consequence of this appointment policy is the widespread incompetence of leaders.<br /> <br /> 老板的无能导致非正式的决策<br /> <br /> 传统上，总经理的职位，甚至中国公司的高级职位，最好是由可以任命的人所信任的人。 家庭关系给人最大的信任，家庭之间或个人之间的友情或家庭生活的共同点（例如在同一个村庄出生，在同一所学校，在同一家具乐部等）则给予最大的信任。 当然，专业资格也有助于建立信任，但这仅是次要的。<br /> <br /> 中国最大的国有企业的领导职务是由党派出的，这些职务与相应的应聘干部结合在一起。<br /> <br /> 这项任命政策的结果是领导人普遍无能。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:56, 27 November 2020 (UTC)<br /> <br /> 老板的无能导致非正式的决策<br /> 传统上，中国公司的总经理职位，甚至是高级职位，最好都是那些能被任命者信任的人。最大的信任是由家庭关系给予的,或者是通过共同的生活阶段，例如出生在同一个村庄，在同一所学校，同一个俱乐部，等等。当然，职业资格也有助于建立信任，但这种信任不是特别重要。<br /> 中国最大的国有企业的领导职务是党指定的，这些职位是由相应的干部结合而成的。<br /> 这种任命政策的一个后果是领导普遍无能。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:02, 27 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> In economic terms, this too is an emergency situation, especially for the bosses concerned, who are surrounded by more competent subordinates. In combination with the facial concept, the bosses thus have to hide their incompetence on the one hand and on the other hand want to keep their position, i.e. they are under enormous pressure to make the right decisions. This has led to an informal decision-making system. The boss discusses possible alternatives informally with the experts. In the end, he has obtained a broad opinion and makes the decision that seems best to him alone. The fact that the laurels are actually due to others remains unspoken; it increases the intensity of the personal relationships (renqing) of the people involved. Once the boss has made a decision and communicated it, the employees will implement it without contradiction due to the hierarchical structures. <br /> ==Ji Tiantian 纪甜甜==<br /> If a superior's decision is not considered correct, the subordinate may not address the boss. Rather, when the hierarchical structures do not apply (joint leisure activities or similar), an opportunity must be sought to indirectly point out the wrong decision to the boss.<br /> <br /> Meetings per day C &gt; USA &gt; D<br /> <br /> The frequency of meetings is much higher in China than in Germany. In the country comparison of four selected countries/regions the following order results:<br /> <br /> 1. Hong Kong <br /> <br /> 2. China<br /> <br /> 3. USA<br /> <br /> 4. Germany<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> '''Shapes of modern Chinese production culture and their causes'''<br /> <br /> [[File:13.jpg]]<br /> <br /> Modern Chinese production culture shows the following characteristics:<br /> <br /> 1. in the area of know-how China lags behind the western industrial nations and Japan, which causes feelings of shame. Many Chinese feel that they are on the defensive and regard their country's relationship with the USA and Japan as the David's against Goliath. This results in a subjective legitimacy for broad-based industrial espionage with national interest and know-how theft.<br /> <br /> ==Jiang Hao 姜好==<br /> '''2. Innovation'''<br /> <br /> China is traditionally known as an empire of inventions, so letterpress printing, gunpowder, porcelain etc. were invented long before similar inventions were made elsewhere in the world. However, these inventions were often not brought to serial production and were produced in masses, as for example in Europe, where gunpowder led to the production of handguns and cannons. It can be exaggerated to say that gunpowder was used instead for New Year's fireworks by the nobility. This shows the Chinese characteristic of a capacity for innovation with a simultaneous lack of diffusion in the market.<br /> <br /> The Industrial Revolution also largely passed China by. Since China, like Europe, was experiencing a population explosion due to better hygiene and medicine, but at the same time the automation of food production did not go beyond manufactories, China fell behind in its standard of living.<br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> Traditionally, imitation has always been highly valued in China. A good copy was almost as important as the original. Thus, both the civil service examination system of previous centuries and today's school system were strongly oriented towards reproduction rather than creativity. One reason may be the enormous amount of characters that requires students to memorize for years.<br /> <br /> 自古以来，模仿对中国来说十分重要。好的模仿同原型几乎地位相等。因此，前几个世纪的公务员考试制度和如今的学校系统都着重指向再生产而非创造。其中一个原因可能是学生在多年里需要记忆大量的人物。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 01:53, 27 November 2020 (UTC)<br /> <br /> 从古至今，中国都十分重视效仿。好的副本与原本几乎同样重要。因此，先前世纪的公务员考试制度与现今学校系统都着重强调再生产而不是创新。其原因可能是学生们在几年里需要记的人物数不胜数。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:20, 27 November 2020 (UTC)<br /> <br /> 自古以来，中国就十分重视模仿。好的模仿几乎和原创一样重要。因此，前几世纪的公务员考试和现在的学校体制都以再生产为导向而不是创造性。其中一个原因可能就是其要求学生花费数年时间去记大量的人物。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:20, 27 November 2020 (UTC)<br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> The idea of copyright is also less rooted in China than in the West.<br /> <br /> When the Chinese were awakened from their sleep by the cannon thunder of the 1st Opium War, there was great regret that they had not carried out their own research and development. Although physical violence was disregarded, the foreigners were envied their technical superiority and since then they have propagated the idea of learning technology from foreigners and reproducing it in order to be able to defend their own cultural values and sovereignty more effectively. This feeling of envy gave rise to an extreme motivation to both imitate the superiority of others and ultimately to outdo them.<br /> <br /> 中国的版权意识没有西方那么深刻。<br /> 当中国人在第一次鸦片战争的炮声中惊醒时，他们非常遗憾没有自己的研发创造。国人虽然憎恨外国人的暴行，但仍旧羡慕他们的技术优势。从那以后，他们师夷长技，以便能够更有效地捍卫自己的文化价值观和国家主权。但这种嫉妒感催生了一种极端的动机，既模仿他人的优越感，最终在该方面又超越他人。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:40, 27 November 2020 (UTC)<br /> <br /> 与西方相比，中国的版权观念不那么根深蒂固。<br /> 当第一次鸦片战争的炮声把中国人从睡梦中惊醒的时候，他们没有进行自己的研究和开发是非常遗憾的。即使中国人可以忽略外国侵略者的暴力，但却羡慕他们的技术优势，从那时起，他们开始宣传向外国人学习技术并加以复制，以便能够更有效地捍卫自己的文化价值观和主权。这种嫉妒感产生了一种极端的动机，既模仿别人的优越感，又最终超越别人。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:59, 27 November 2020 (UTC)Li Lili<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> '''3. Competition'''<br /> <br /> The toughest competition worldwide is in China. Successful products immediately find numerous imitators. As soon as an imitator can produce the product at more favorable conditions, the client switches to him. Together with state arbitrariness, this has resulted in the emergence of a typical Chinese type of company: The financial holding company as a family-owned enterprise with involvement in various industries. This enables a company to survive even if the sales market for a product suddenly collapses. In hardly any other country in the world do companies have to be as vigilant as in China, adapting products to changing customer requirements within the shortest possible time and always being one step ahead of the competition. New trends have to be recognized early and capacities have to be built up or reduced flexibly.<br /> <br /> Those who survive in this hard school are also prepared for more peaceful and fairer markets like those in Europe and America.<br /> ==Kong Xianghui 孔祥慧==<br /> '''4. State control'''<br /> <br /> The reform and opening policy since 1978 has led to a predominance of foreign companies in China at the end of the 20th century. In order to protect their own industry, laws were introduced obliging companies to provide a certain percentage of their production in China locally. As a result, Chinese suppliers had to be sought who were able to contribute parts to the production chain. This promoted local industry and also the transfer of know-how. <br /> <br /> At the same time, foreign suppliers were also forced to follow the large companies to China if they did not want to be replaced by a Chinese company. This accelerated the settlement of foreign companies in China.<br /> 1978年以来的改革开放政策导致20世纪末外来企业占据了中国市场的主导地位。为了保护本国产业，中国出台了相关法律，要求外来企业必须在当地提供一定比例的产品。因此，他们必须寻找能够向生产链提供零部件的中国供应商。这促进了当地工业的发展，也促进了技术的转让。<br /> 与此同时，外国供应商如果不想被中国公司取代，他们就必须跟随大公司来到中国。这加快了外国公司在中国的落户。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 10:53, 27 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> However, legislation (like the joint venture laws) and court decisions favoured domestic companies. Also, China has built up a state capitalism that sponsors industry, supports domestic industry on the world market and helps financing overseas investment. Also, copyright infringement and industrial espionage (including civil-military alliance) supports the Chinese economy. Under the Trump administration, the USA has responded with a protectionist “America first” strategy.<br /> <br /> '''5. Legal system'''<br /> <br /> The legal system in China is not independent. It acts at the behest of the state.<br /> <br /> Western companies came to China with superior know-how and financial power. These companies were admired in China, but at the same time a feeling of disadvantage arose with regard to their own backward industry. <br /> ==Lei Fangyuan 雷方圆==<br /> As a counterbalance to this perceived weakness in relation to the large foreign corporations, the legislation was designed and the judiciary was urged to protect their own corporations.<br /> <br /> This puts Chinese partners in a better position when joint ventures are dissolved (often the know-how and capital goes to the owner).<br /> <br /> '''Necessity is the mother of invention'''<br /> <br /> The reason for the increase in efficiency, known worldwide as Japanese management culture or production culture, was the lack of money for new machines in Japan after World War II.<br /> ==Lei Kuangxi 雷旷溪==<br /> In China, another emergency situation is also the reason for developing a separate response to the challenges of the market: it is the professional incompetence of management personnel. This has grown historically. In China, management positions are primarily given to people who can be trusted. Traditionally, the most trustworthy people in China are family members or family members of old school friends, acquaintances who come from their own village and who have indulged in the same hobbies together (see Deng Xiaoping's Bridge round or the golf acquaintances in Western lobbying) etc. Loyalty to the party plays a secondary role. In principle, members of the Communist Party have it easier in business life, cadres even easier. Membership in the People's Liberation Army plays a similar role.<br /> <br /> 在中国，另一种紧急情况也是制定单独应对市场挑战的原因:管理人员的专业能力不足。这随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。传统上最值得信赖的人是家庭成员或老同学的家庭成员，来自自己村庄的熟人，有共同爱好的熟人(比如邓小平的桥牌圈或西方游说中一起打的高尔夫熟人)等等。对党的忠诚是次要的。原则上，共产党员做生意很容易做起来，共产党员干部就更容易。中国人民解放军的战友也扮演着类似的角色。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:24, 26 November 2020 (UTC)Lei Kuangxi<br /> <br /> 在中国，另一种紧急情况也是制定单独应对市场挑战策略的原因:管理人员的专业能力不足。这种情况随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。在中国传统中，最值得信赖的人是自己的或老同学的家人，同村的熟人和有共同爱好的熟人(比如邓小平的桥牌圈或在西方游说中一起打高尔夫的熟人)等等。对党的忠诚是次要的。原则上，共产党员很容易把生意做起来，共产党员干部就更容易。中国人民解放军的战友关系也起着类似的作用。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:54, 26 November 2020 (UTC)<br /> <br /> ==Li Haiquan 李海泉==<br /> Professional competence often plays no role at all. But here, too, a generational change has taken place; the highest leadership cadres in the Central Committee often had no education or training at all in the Soviet Union at the beginning, were replaced by technocrats in the 1980s, and at the beginning of the 21st century many have an American university degree. <br /> <br /> In the business sector, the leadership positions of the largest Chinese state-owned enterprises are still awarded by the party to deserving cadres.<br /> <br /> The professional incompetence of the bosses represents a plight that must be countered in daily work with a sophisticated strategy if one does not want to be replaced by a more professionally competent boss.<br /> ==Li Lili 李丽丽==<br /> This strategy consists of the following:<br /> <br /> ·Avoiding the disclosure of own professional incompetence<br /> <br /> ·Informal consultation and coordination with the actual experts in the company before each decision process<br /> <br /> ·Announcement and representation of the decision by the boss alone, this decision may then also no longer be questioned<br /> <br /> This informal participation in the decision-making process is organized in a network which, however, in contrast to the Japanese model, is not lived out in team discussions, but rather through several face-to-face meetings between the boss and a different expert in each case, since if the boss sought the advice of a first expert in the presence of a second expert, he would lose face with the second expert. This network character is therefore very personal and usually consists of direct two-person relationships.<br /> <br /> 该战略包括以下内容：<br /> <br /> ·避免披露自己的职业能力不足<br /> <br /> ·在每个决策过程之前，与公司的专家进行非正式协商和协调<br /> <br /> ·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑<br /> <br /> 这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:24, 27 November 2020 (UTC)Li Lili<br /> <br /> 该策略包括以下内容：<br /> <br /> ·避免披露自己的职业能力不足<br /> <br /> ·在每个决策过程之前，与公司真正的专家进行非正式的协商和协调<br /> <br /> ·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑<br /> <br /> 这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:49, 27 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> However, it is also possible to contact a third person who knows the second person, whereby the second person then only establishes contact and then withdraws.<br /> <br /> A further emergency in China is that due to the sleepy industrial revolution and the lack of information diffusion in the market, no research and development tradition of its own has been established to date. Instead of carrying out basic research for a long time, information about the state of the art of advanced competitors was obtained and attempts were made to copy and eventually outperform them. Only recently, due to enormous governmental support, e.g. in hybrid drive technology and electric motor technology, self-developed products have been created in China.<br /> ==Li Liqin 李丽琴==<br /> '''Changes in the Chinese production culture'''<br /> <br /> When the production site in China opened up to the global industry, the egalitarianism of the planned economy had already erased the tradition of quality assurance from the memory of the factory workers. In the decades before, they had been used to selling along with the scrap. The first factories, which produced goods in China due to the low labor costs, also delivered rejects accordingly. The foreign investors first had to reintroduce the quality assurance concept in China. Due to the strong competition in China and the orientation towards world market prices and standards, quality assurance has now been internalized in China.<br /> <br /> “中国生产文化的变化”<br /> <br /> 当中国的生产基地向全球产业开放时，计划经济的平均主义使得工厂工人追求质量保证这一传统不复存在。在过去的几十年里，工人已经习惯了把废料一同出售。由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废料。外国投资者须先重申质量保证的重要性，唤起中国生产商的重视。与此同时，由于中国市场的激烈竞争以及其对世界市场价格和标准的关注，质量保证在中国内部现已普及。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:28, 26 November 2020 (UTC)<br /> <br /> '''中国生产文化的变化'''<br /> <br /> 在中国生产基地向全球产业开放时，计划经济的平均主义已经从工厂工人的记忆中抹去了质量保证的传统。在过去的几十年中，它们已经习惯与废料一同出售。 由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废品。 外国投资者首先必须在中国重申质量保证理念。 由于中国的激烈竞争以及对世界市场价格和标准的遵循，质量保证现已在中国内部化。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:40, 27 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> The originally traditional lifelong relationship with the employer, as we also know it from Japan, has now been reversed. China currently has one of the highest employee turnover rates in the world, even higher than the already high rate in the USA.<br /> <br /> In the period 1950 to 1980, the production culture was characterized by blind fulfillment of plans; since 1980, production has been oriented to the market.<br /> Today, management concepts are as en vogue in China as political campaigns were in the past. They are read and discussed, but often misunderstood due to the lack of foreign language skills and context/background knowledge.<br /> <br /> 通过日本我们可以知道，最初的传统终生雇佣关系现在已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率本就很高的。<br /> <br /> 在1950年至1980年期间，生产文化的特征是盲目地执行计划经济；自1980年以来，生产一直面向市场。 如今，管理理念在中国就像过去的政治运动一样流行。 它们被阅读和讨论，但由于缺乏外语技能和语境背景知识而常常被误解。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 07:59, 26 November 2020 (UTC)<br /> <br /> <br /> <br /> 通过日本我们也可以知道，最初的传统终身雇佣关系现已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率已经很高的美国。<br /> <br /> 在20世纪50年代至80年代，生产文化的特点是盲目执行计划; 自1980年以来，生产一直面向市场。如今，在中国，管理理念就像过去的政治运动一样流行。他们被阅读和讨论，但常因为缺乏外语技能和背景知识而被误解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:42, 27 November 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Similar to the campaigns, the concepts are introduced with an eternal claim, but only last as long as a seasonal fashion. This type of management, which is based on current trends in management strategies, could also be called guerrilla management, following Sebastian Heilmann's concept of &quot;guerrilla politics&quot;.<br /> <br /> In China, a culture of secrecy (ID badges, access restrictions), especially among high-tech companies, is prevalent, which is exactly the same as in America. In China, this culture was simply copied from the USA, certainly also due to the findings of Chinese industrial espionage abroad that know-how, e.g. in German companies, is often insufficiently protected against access by third parties.<br /> <br /> ==Li Yongshan 李泳珊==<br /> '''Roles in the Chinese production culture''' <br /> <br /> The central role in the Chinese production and management culture is played by the boss. This can also be seen in the comparatively high values of China's Power Distance Index.<br /> <br /> The specific behavior of the boss in the decision making process has already been explained above.<br /> <br /> In the following, the difference in the relationship between the boss and his subordinates in China and Germany will be described.<br /> <br /> The team member in Germany expects a target for the overall project and the specification of the assigned subarea within the project, feels responsible for the timely achievement of his own and the team goal and wants to find the way to this goal independently. <br /> ==Li Yu 李玉==<br /> It would like to be little supervised and communicates intensively with the other team members. The team leader in Germany is rather a primus inter pares, who has a small area of responsibility as a specialist and is responsible for coordination. The success is always a success of the team.<br /> <br /> In China, the boss has a much higher position than the other team members. He gives each team member the individual goal and the individual steps to reach this goal. He closely monitors the progress and cares for the team members, also regarding job satisfaction and in private matters. <br /> ==Lin Min 林敏==<br /> He expects a feedback only to him and no exchange of information between the team members. If the input of the first team member is a prerequisite for the work of the second team member, the boss himself forwards the intermediate / work results of the first to the second team member. <br /> <br /> The role of the employee in China is determined by the following characteristics: He cultivates a culture of error, in which it is important not to make any mistakes of his own, and in case mistakes are made, to correct them if possible without being noticed and in case they are noticed, to at least not immediately admit the guilt. <br /> ==Lin Xin 林鑫==<br /> In all these behaviours, the principle of face awareness applies.<br /> <br /> As mentioned above, the loyalty of employees to an employer in China is extremely low at the beginning of the 21st century. For a few yuan a month, workers change employers. Headhunters intercept employees at the factory gate, ask about the salary and offer correspondingly more. <br /> <br /> The paid passing on of information, especially about customers, suppliers, purchase prices and patents, is also considered a trivial offence. <br /> Chinese companies communicate less and employees are more demotivated. This is mainly due to the high production pressure, as case studies by Hong/Pöyhönen/Kyläheiku 2006 show (see list of literature in the appendix).<br /> <br /> ==Ling Zijin 凌子瑾==<br /> '''The Intermezzo of Socialism from 1949-1979'''<br /> <br /> In the phase of socialism, the centrally planned economy applied in it blossomed as follows:<br /> <br /> When the news reached the top, there was a culture of whitewashing.<br /> <br /> The breakup of the unions made the culture of co-determination in companies even more informal.<br /> <br /> '''Gaming in the Chinese production culture'''<br /> <br /> In China, playful experimentation is a core element of the production culture. In this way, individual management elements, but also entire foreign production philosophies can be tried out in a playful way.<br /> ==Liu Bo 刘博==<br /> One of the main differences between young people in China and those in the West is that, even as young adults, they can still play hilariously without making themselves look ridiculous to others. The joy of playing is particularly unrestrained if the ambition is there to copy a foreign product as similar as possible or even to surpass it and also to implement, for example, a new management concept or a production philosophy. <br /> <br /> New rules of the game are accepted very quickly. The introduction of a reward system (''incentives'') for long service has led to a situation in China where it is always calculated when a change is worthwhile.<br /> ==Liu Jinxingqi 刘金惺琦==<br /> Sustainable concepts can only be introduced if the benefits of the concept are clear. Other concepts with no discernible added value, such as alignment with the American corporate philosophy on mergers and acquisitions, are forgotten just as quickly as they were introduced, and people return to old habits.<br /> <br /> '''Effects on the company''' <br /> <br /> In China today, we find a modern production culture that is international but has its Chinese characteristics. <br /> <br /> It has positive and negative effects on the company:<br /> <br /> ==Liu Liu 刘柳==<br /> '''Positive effects of the Chinese management and production culture (CMPC)'''<br /> <br /> ·Networks<br /> <br /> ·the preferential treatment of Chinese companies (e.g. in tenders, competition, within corporate groups such as joint ventures)<br /> <br /> ·playful enthusiasm for technology<br /> <br /> ·Brutality, which in turn promotes competition<br /> <br /> '''Negative effects of the Chinese management and production culture (CMPC)'''<br /> <br /> ·through their distortion of competition <br /> <br /> ·by promoting incompetence in management positions<br /> <br /> ·through their priority of personal rather than non-cash benefits, which is fundamentally negative for the production culture <br /> <br /> ·through rituals/conventions (face, criticism, status etc.)<br /> <br /> ·intransparent state sponsoring and corruption<br /> <br /> ==Liu Ou 刘欧==<br /> The fundamental difference of the free trade zone established by China, Japan, Australia and other Asian Pacific countries in 2020 from suggestions of free trade zones involving the US or the EU is, that state-sponsoring and corruption are not restricted. Therefore China benefits most of this new free trade zone.<br /> <br /> '''Where is modern Chinese management and production culture (CMPC) an international role model?'''<br /> <br /> [[File:lo]]<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> The Chinese management and production culture (CMPC), as explained in the previous chapters, has its own characteristics that distinguish it from, for example, the Japanese or American management and production culture. Nevertheless, the CMPC is successful and manages the world's largest production market. Elements of the Japanese production culture have been successfully used worldwide to modernize production facilities. Can Chinese elements also lead to global success?<br /> <br /> The following 5 elements appear at least compatible on the international market:<br /> <br /> '''1. informal decision making through horizontal and vertical network management'''<br /> <br /> In China, important and unimportant decisions are seldom made by competent committees or officials, but rather are investigated informally.<br /> ==Liu Yi 刘艺==<br /> The hierarchical position in the company of those involved in the decision-making process is irrelevant, only their professional competence. Questioning the most competent is possible because this questioning is completely detached from the honor and reward system, but takes place in a parallel world, the so-called personal relationship system (Chinese: guanxi 关系). Due to this decoupling, the responsible decision-maker does not mind questioning other, not responsible but more competent colleagues/employees/outsiders. At the same time, the colleague/employee/external is motivated to give the best possible decision support, since he can score points in the parallel world.<br /> <br /> The results are well-founded and accepted decisions.<br /> ==Liu Yiyu 刘怡瑜==<br /> '''2. playfully trying out new forms of production and management (attention: hermeneutics/sustainability)'''<br /> <br /> The play instinct in people up to old age is socially sanctioned. In phases when there is little to do in the office, a Mahjong or Go board or cards are taken out as a matter of course. Similarly, new methods, often imported from the West or Japan, are tried out with playful zeal. An incentive system, for example, challenges colleagues to earn as much capital as possible in the form of incentives in as short a time as possible. It is not unusual for hit lists to be posted in the office, so that colleagues encourage each other. <br /> ==Liu Zhiwei 刘智伟==<br /> But it is important to pay attention to three aspects:<br /> <br /> 1. the actual goals should be achieved without neglecting other aspects of the work or even worsening the overall result, because the colleagues are addicted to the urge to play. The introduction of new management or production strategies is nothing new for Chinese employees, they know this from political or education-oriented campaigns (e.g. traffic education). <br /> <br /> The second aspect that must be kept in mind is the understanding of the corresponding philosophies. For this it is important, for example, when importing Western management culture into China, that the correct Chinese term is first found for the fashionable e.g. English expression. <br /> ==Lou Cancan 娄灿灿==<br /> Terms that are translated incorrectly or not at all lead to success messages that a new system has been introduced, with what was understood by it being introduced instead. <br /> <br /> A third aspect that must be considered in this context is sustainability. Many new concepts that have been introduced are forgotten after a few weeks and the old rut has returned. Only individual, often senior employees still remember the newly introduced things and occasionally refer back to them without being able to enforce them on their employees.<br /> <br /> 翻译不正确或根本没有翻译的术语会带来成功信息，即引入了一个新系统，而引入了该系统所理解的内容。<br /> 在这情形下必须考虑的第三个方面是可持续性。许多引入的新概念在几周后就被遗忘而老一套又回来了。只有个别的，通常是高级员工还记得新引进的东西，偶尔也会提到，但不能强加在他们的员工身上。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 27 November 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> A process description system that is integrated into the daily work routine (e.g. daily used computer work surface) is useful here, where the employees make or execute decisions and processes in the given paths.<br /> <br /> All in all, the playful approach reduces fear of contact with new things, the daily work routine is varied and the employees gain further qualifications.<br /> <br /> '''3. speed and flexibility in product development'''<br /> <br /> One of the hallmarks of the Chinese manufacturing industry is the speed at which products are cribbed and developed further, or at which they react to changing customer requirements or market conditions.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> The ambition that Chinese product developers put into developing solutions for specific requirements is comparable to the play instinct described above.<br /> <br /> 他希望中国的产品开发人员为特定需求开发解决方案，这一雄心壮志与上述游戏本能不相上下。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> This high speed and flexibility strengthens the competitiveness of Chinese companies. Western companies can learn these qualities by locating in China and thus benefit from these experiences in the comparatively sluggish production location in their home countries.<br /> <br /> 这种高速和灵活性增强了中国企业的竞争力。西方企业可以在中国开公司来学习这些品质，从经验中获益，与本国相对迟缓的生产环境来说。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> 这种高速和灵活性增强了中国企业的竞争力。处在本国相对迟缓的生产环境下的西方企业可以落户中国来学习这些品质，并从这些经验中获益。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:07, 27 November 2020 (UTC)<br /> <br /> '''4. focusing on personal competence instead of things or functions'''<br /> <br /> 4注重个人能力而不是事物或职能--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> Interesting and certainly typical Chinese is the fixation on people instead of the thing.<br /> <br /> 有趣的是，中国人是典型的对人不对事。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)<br /> <br /> 有趣无疑的是，大凡中国人都对人不对事。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 11:50, 26 November 2020 (UTC)<br /> <br /> ==Ma Juan 马娟==<br /> <br /> [[File:majuan]]<br /> An original feature is the logistics. As this picture illustrates, existing primitive means are exploited to the utmost. Admirable is the matter-of-course way in which the extremes are mastered.<br /> <br /> For a long time, production capacity in China grew faster than logistics. Only at the beginning of the 21st century are delivery services and infrastructure (highways, high-speed train connections, etc.) catching up.<br /> ==Ma Shuya 马淑雅==<br /> '''The Freedom of Intellectual Exchange'''<br /> <br /> Starting to work on the modern Chinese literary essay in the 1990s, I published my Ph.D. thesis ''The History of the Chinese Essay'' in 1998. Because it was written in German, I hoped since then to raise interest in this subject in the anglophone world, too. With this volume in hand, this wish has become true. Some of the topics I dealt with in my thesis like the development of the genre, biblio-biographies of several essayists etc., are elaborated here extensively by my collegues in English and more detailed than I could do it in my first ground work in German. <br /> ==Ma Zhixing 马智星==<br /> Moreover, this collection documents the lively discussion, which started among sinologists in the last years of the 20th century.<br /> <br /> I remember quite clearly, how the idea of the conference was born during a meal at the Boston AAS conference hotel with King-Fai Tam. Leo Ou-fan Lee had helped to bring both of us together, knowing that we shared a seemingly specialized hobby, the modern Chinese essay. King-Fai was preparing two collection of essay translations, one with essays from mainland China and one from Taiwan. The first is scheduled for publication. I prepared another collection of essays with both, Chinese original and English translation, published by The University Press Bochum half a year ago. The common intention of both of us is to make more Chinese essays available in English translations. <br /> ==Meng Ying 孟莹==<br /> King-Fai Tam and me are both fascinated of the idea of promoting this long time neglected genre and to find out more about its characteristics and the reasons of its success in the 1920s and 1930s as well as in the 1980s and 1990s. On a napkin, we outlined an AAS panel, an international conference and a volume with essays on the essay. All of these ideas are now becoming real more or less in the way we planned it: The AAS panel became an NEAAS panel at Yale, the conference took place in August 25-27, 2000 at the Academy of Euro-Asian Economy and Culture in Achern, in the Black Forest, Germany. <br /> ==Mo Ling 莫玲==<br /> 14 scholars of Chinese literature, from the States, Taiwan, the United Kingdom and Germany took part. All of them share the fascination of the phenomenon of the essay. Language was no barrier: The conference was conducted in English with the exception of a few papers in Chinese with English abstracts.<br /> <br /> The collection of essays on the essay are the conference proceedings in hand, this book contains extended versions of the conference papers. It was published by The University Press Bochum in December 2000. More important is the fact, that through this opportunity, we now have lively email discussions and a website with updated information on the Chinese essay.<br /> ==Mo Nan 莫南==<br /> Here I would like to take the opportunity to thank the members of the organizing committee Charles Laughlin, Xinmin Liu, King-Fai Tam, and Alexandra Wagner for their great help. I very much enjoyed the discussions via email.<br /> <br /> A common philosophy stands behind the whole project: We want to share information, help each other and do not care about language barriers. Everybody can contribute in English or Chinese, some of us like me being non-native English speakers.<br /> <br /> We encourage the reader to make use of the large margins for personal notes in the awareness of pursuing a tradition dating back to the very origins of essay writing. <br /> ==Nie Xiaolou 聂晓楼==<br /> Having most of the conference papers in hand with this book, everybody is welcomed to give a feed back. This kind of free intellectual exchange I first experienced in the States when Leo Ou-fan Lee invited me to stay from 1998-1999 as a visiting scholar at the Department of East Asian Languages and Civilizations at Harvard University.<br /> <br /> The contributors to this volume can only introduce and draw the attention of the readers to this Chinese genre, the joy of reading remains to the reader himself.<br /> <br /> M.W.<br /> ==Ou Rong 欧蓉==<br /> ''The Flourishing of the Chinese Essay''<br /> <br /> Martin Woesler<br /> <br /> The flourishing of essay publication in the periods of accelerated modernization, the Western-influenced one (1920s/30s) and the one of liberated economical actors (1980/90s), was helped in part by the appearance of new magazines and book series that existed chiefly as vehicles for contemporary essayists. The emergence of this media show a clear trend: the essay is a genre of overwhelming and increasing interest among Chinese authors and readers.<br /> <br /> There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s: <br /> ==Ouyang Jinglan 欧阳静兰==<br /> ·The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition”[ Donald Hall, The Contemporary Essay (New York: St. Martin’s Press, 1984) xiii. In this textbook, Hall has chosen a wide range of contemporary American essayists. In his introduction, Hall applies for clear writing, and active reading.]; <br /> <br /> ·the increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; <br /> <br /> ·a revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.<br /> Because of its increasing importance, the essay can now be assigned its proper place in the canon of contemporary genres and in the history of literature.<br /> ==Ouyang Ling 欧阳玲==<br /> In the last two decades of the 20th century, the essay has been the main communication medium between the discourse of the intelligentsia and the mass of readers of daily newspapers. Therefore we have a genre which transports ideas of the elite in small pieces and common language and functions as the link between mass and elite culture.<br /> <br /> December 2000<br /> <br /> 20世纪最后20年中，小品文成了知识分子和那些读日报的普罗大众沟通的主要媒介，由此，这种文学体裁开始以小篇幅和通用语将精英分子的思想传播开来，成为了大众文化和精英文化间的纽带。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:02, 27 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> '''Keynote: “Let us Assign the Essay its Proper Place in Chinese Literature!”'''<br /> <br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. We are used to the established narratives of C.T. Hsia, Průšek, and Anderson, which let Chinese literature appear overshadowed by its elder brother, fiction. The latter has been prized ever since the valuing of fictional literature and the vernacularization of writing in early Republican China, which followed from the master narrative established by the May 4th movement.<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly: <br /> ==Peng Juan 彭娟==<br /> •The essay had a direct impact on Chinese society throughout history. The impact of the essay genre, with its direct language, its connection to life, and its direct access to the individual reader through newspapers, was larger than the indirect effects of fiction or poetry.<br /> <br /> •The essay also reflects trends in society better than poetry and fiction. Individualism is expressed in the essay more directly than in the poem, which is limited in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> ==Peng Ruihong 彭锐宏==<br /> •The essay reaches a larger part of the population than poetry, and does not require the large amount of time spent on reading novels. The essay itself is a genre of high actuality, if not simply the genre of today.<br /> <br /> •The volume of essay production exceeds the volume of xiaoshuo production.<br /> <br /> Can the picture of Chinese literature remain unchanged if we take the essay into consideration? As stated above, there is a large contrast between the true value and the current valuing of the essay. Let us assign the essay its proper place!<br /> ==Peng Xiaoling 彭小玲==<br /> '''The unknown genre'''<br /> <br /> The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90); whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.<br /> <br /> '''未知的体裁'''<br /> <br /> 由20世纪选集和文集讲述的文学历史叙事所绘画出的中国文学图景并不完整：即散文体裁的缺失。长期以来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）忽视了这种体裁的优点：然而，自从五四运动确立主叙事、民国初期重视小说文学和创作通俗化以来，散文的兄长--小说就一直受到珍视。现代选集会让读者相信，诗歌、小说和戏剧的三足鼎立才是中国现代文学作品的支柱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:10, 27 November 2020 (UTC)<br /> <br /> ···未知体裁···<br /> 20世纪的选集和文集所记叙的文学史，勾勒出一幅不完整的中国文学图景：散文的体裁是缺乏的。长期以来，散文作为一种功利性文体被忽视（马格里斯1949年，施寒微1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年）；而它的兄长--小说，自民国初年重视小说文学和写作白话化以来，在五四运动确立的总叙事之后，一直受到重视。现代选本会让读者相信，诗歌、小说、戏剧三驾马车构成了中国现代文学创作的主干。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:12, 27 November 2020 (UTC)Yang Chenting<br /> <br /> 20世纪文学选集对于中国文学史的叙述是不完整的，其中缺失了散文这一体裁。长期起来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）地忽视了这一出色的体裁，但与此同时，由于五四运动树立起了以叙事为主的创作风格，到民国初期发展为重视小说体裁和通俗化创作，散文的兄长--小说，则一直受到重视。而现代文选则告诉读者，诗歌、小说和戏剧的三足鼎立才是中国现代文学的支柱。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:27, 27 November 2020 (UTC)Ouyang Ling<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Two times in the 20th century the Chinese essay was flourishing, first in the 1920s and 1930s, then in the 1980s and 1990s. <br /> <br /> Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'', see works of Laughlin, Klaschka). The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文丛书 (essay bookseries). <br /> <br /> The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging ''xiangtu'' literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.<br /> <br /> Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:<br /> <br /> The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political ''zawen'' of Lu Xun, until today are mostly presented in essay form). <br /> <br /> ==Qi Kai 漆凯==<br /> The impact on literary reflection and theory is shown in the collection ''Modern Chinese Literary Thought'' 1996 (see Denton). The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.<br /> <br /> Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of ''novel'' and ''opera'' in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.<br /> ==Qu Miao 瞿淼==<br /> The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.<br /> <br /> - The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.<br /> <br /> - The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lives, like Lu Xun, Ba Jin, and Wang Meng.<br /> ==Quan Meixin 全美欣==<br /> -The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao, etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his zawen), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang'' lu derived).<br /> <br /> Let us assign the essay its proper place<br /> The consequence which must be derived from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! <br /> <br /> Taking into consideration the essay will rewrite the history of Chinese literature<br /> I will name a few points to illustrate what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Pršek and Anderson.<br /> ==Sagara Seydou ==<br /> We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the yuanyang hudie pai played in the choir of different voices in the awoken intellectual debate in the beginning of this century. The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.<br /> ==Shi Diwen 石迪文==<br /> In the following, I will name two aspects (chronologically sorted by past, and modern times) to promote the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.<br /> <br /> 1. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned<br /> How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay both in China and the West are notes written in the margins of books, as well as letters and travel notes saved. These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber.''<br /> ==Shi Haiyao 石海瑶==<br /> From the very beginning, the essay was valued lower than poetry: the oldest reference[ This is older than the ones referred to in Morohashi, 5:529a / sequential page counting 5167a, and in the The Encyclopaedic Dictionary of the Chinese Language, vol. 73c / s.p.c. 6137c.] this far for the term sanwen that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù. 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatells, is limited. Luo Dajing 14:Baihai:1). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.<br /> <br /> 从一开始，人们就认为散文的价值低于诗歌:最古老的参考文献[这比在Morohashi, 5:529a /连续页数5167a，和在中国语言的百科词典，第73卷/ s.p.c. 6137c中提到的更古老。)“散文”这个术语,我发现是罗大经提出(?- 1248年之后):“詩騷妙天下,而散文頗覺瑣碎局促”。诗歌以一种美妙的方式感化人类，散文则是不连贯的杂谈，影响有限。罗大经 14: Baihai: 1)。罗大经提出的另一种质疑则更为正式:与具有高度艺术性和百年历史的诗歌创作传统相比，在他看来，直接的、通常是白话的散文没有什么价值。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 09:19, 27 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge. The reorganization originated from the observations of Copernicus, which destroyed the whole conception of the world of the Middle Ages.<br /> <br /> In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of ''san'' 散 as to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''. Xunzi delivered the prototype of the later essay with his philosophical treatises.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.<br /> <br /> During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written in the paper margins originated the ''biji'' 筆記 (occasional notes), flourishing in the Ming dynasty. The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynastie, when numerous essay anthologies were compiled.<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences. Until now, the Chinese pre-''Honglou meng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.<br /> <br /> Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the “Eight legged essay” as as appealing and intoxicating as the “pleasure of doing opium.” (Zhou Zuoren 1932c, 148).<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, 71).<br /> <br /> Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''wen yi zai dao'' 文以載道 (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.<br /> <br /> Liang Qichao developed a ''xin wenti'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.<br /> <br /> 但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。<br /> 理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。<br /> 梁启超受西方语言的影响，发展了一种新文体，但这种文体在报纸成为大众传媒之前就开始流行起来，语言也变成了白话。<br /> --[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 12:40, 26 November 2020 (UTC)<br /> <br /> 但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。<br /> 理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。<br /> 受西方语言的影响，梁启超发展了一种新文体，但这种文体在报纸成为大众传媒媒介之前就流行起来，新文体的语言也变成了白话。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:25, 26 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> '''2. The essay as the medium of modernity'''<br /> <br /> The essay was ''the'' genre of the modernizing society of the early 20th century. It was short, dealt with reality, there was no limitation regarding the contents, therefore it was also capable of documenting and spreading the ideas about the best form of society. It was simply the best form to transport the thoughts of the intellectual leaders of the time to the public and to create a public sphere. Imagine the May Fourth Movement without essays! Most of Lu Xun's work consists out of essays!<br /> <br /> Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming “needs” of society, which also claimed the author to be one of its products.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is “a genre of self-reflection”. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. <br /> <br /> Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays.<br /> <br /> I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).(文献 无需翻译)<br /> <br /> 但是从本质上说，这篇论文在形式和内容上设定了新的界限，因此不仅脱离了意识形态限制，而且在其中建立了自己的批判亚文化。这篇文章不仅是我们今天讨论的媒介和社会政治背景的记录，还是关于作家在不断变化的环境中寻找定位的个人奋斗的记录，因为这篇文章是“反思类型”。有些文章甚至像左派意识形态之一一样破坏了主叙述，通常只是将其与主观经验，现实或艺术联系起来去面对。<br /> <br /> 如果我们考虑论文的话，会对文学的整体理解发生了变化，如果我们既看作者的小说诗歌作品，又看他们的论文的话，对单一作者的观点也会改变。<br /> <br /> 我想提到文学的另一种立场，强调文学对生活的影响，特别是在革命前夕对生活的影响。按照这种观点，所有文学都是政治性的（詹姆森）。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:17, 26 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> '''The Aesthetic of Marginalism and the Impact of the West on the Chinese Essay'''<br /> ''Martin Woesler''<br /> <br /> '''Abstract'''<br /> Chinese and Western essays derived from the notes in the margins of books. With this step from the private to the public sphere, we find the impact of subjectivity and individualism on literature. The origin of the essay has influenced the later essay tradition in its ephemeral, subjective, marginal character; its claim for understatement; the conversational and colloquial style of expression; and its eclecticism. The essay itself often deals with one subject, but this topic is looked on from different perspectives.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> The aesthetic of marginalism, invented by Schlette in 1977 and further developed by Pfeiffer and others in 1996, proves helpful for understanding the character of the essay. Following its methodological perspective, marginalism grants the essayist a distant view of the text body itself from the margins of the book. This enables the essayist to think unorthodoxly, the condition ''sine qua non'' of critique and protest. <br /> <br /> In my paper, I use the concept of marginalism to explain the rhetorical means of digression in Lu Xun's essays. Lu Xun seems to digress: 1) on purpose for rhetorical effects; 2) going off-target for arts’ sake; 3) as an experiment; 4) for its own sake with socio-critical side blows; 5) as understatement with surprising effects. Further I will show marginalism in the founder of Western essayism, Montaigne, and the Chinese scholar Qian Zhongshu.<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> As for the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, both traditions are relevant: The current form of the genre is mostly based on the influence of Western essay translations, starting from 1907. From this, there first developed a Chinese essay tradition which consciously leaned upon the Western model in language, form and terminology. Later, the Chinese essay’s own proponents succumbed to the temptation to derive a tradition of the Chinese essay from Chinese history alone. The legendary authors of the May Fourth movement considered the English essay as the father of the Chinese essay. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition.<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> Wherever on earth human beings developed a high culture, the written language was its essence. Early traces we find in the pictograms of the Near East, Latin America and China. The more the characters remind of the ontological world, the more the written language itself was an object of cult. From the Chinese we know the use of characters in the tortoise shell oracles, from the Germans in sacrificial stones. Later, with the improvement of writing material, the first rolls were created, either from papyrus (Egypt), pergament (Europe) or bamboo (China). Due to the expensive material, written rolls were reserved to wealthier people. The texts were reduced to the documentation of important things.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> For the first time, it was possible not only to document events and therefore to extend the human mind and memory, but to communicate complex information from one author to another or more readers. At this stage, the first reading notes were written. Due to the lack of the precious writing material, the margins of the rolls were used. Still today we find these notes as well as on early European (for example ancient Greek) rolls as well as on Chinese ones. These notes were personal thoughts about the text, explanations of places and events maybe unknown to third readers, interpretations of unclear text passages, alternatives to seemingly miswritten characters, sometimes only marks for structuring the texts, which were used as school textsoles to teach reading, too. <br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Some notes were intended for other readers, and from this in Europe and China the tradition of commentary developed. Other notes were of a private nature, personal comments to the text, not written down for other people. And both, in Europe as in China, the same evolution took place, when the authors of the notes discovered, that the notes were worth collecting. From these collections of notes they compiled short essays. These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> The names given to these essays reminded of their origin. In Europe they were called “marginal notes,” “marginalia,” in China “brush notes” (''biji'' 筆記, or occasional notes). They were flourishing in the Ming dynasty. They could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynasty, when numerous essay anthologies were compiled.<br /> <br /> All these terms for the essay, and also the term “essay” itself, which means “try, attempt,” invented by Montaigne, reflect the ephemeral, subjective, marginal character of the essay. The term itself carried the claim for understatement, which is substantial especially when you want to express subjective, individual thoughts, in order not to seem schoolmasterly to the reader. <br /> <br /> ==Wang Yuan 王源==<br /> <br /> From this origin, different characteristics of the essay came, which are still valid for essays today. One is the conversational style of expression, which comes while you create the sentences from the notes the very moment you are writing them down. From Greek philosophers we know that they sat relaxed in the yard, while one person was reading them their notes from the margins of the books which the philosopher transformed into sentences orally, while another person wrote it down. This also explains the colloquial character of the essays. In fact, the whole development of ideas was based on a conversation in mind with the author of the original role, and many Greek philosophical schools knew about the importance of dialogues for the development of thoughts.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> Another characteristic of the essay is its eclecticism. While reading an original text, the educated scholar constantly thinks of quotations and links to other works. Therefore many notes consist out of references to other works. The essay itself therefore often deals with one subject, but is looked on from different perspectives.<br /> <br /> In 1977 Heinz Robert Schlette developed the aesthetic of marginalism, in 1996 Klaus-Peter Pfeiffer developed this concept further. It proves helpful for the understanding of the character of the essay. In its methodological understanding, marginalism grants the essayist a distant view from the margins of the book to the text body itself. Following Schlette, marginalism is only possible where dissident thinking is possible. Marginalism is the private sphere left to the reader during the reading process.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> It is the condition sine qua non of critique and protest. A marginalist reader is one, who reads a text critically. Also Montaigne saw himself as a marginalist (Ulke, 31 - 38).<br /> <br /> Let us now use the concept of marginalism to look on the 20th century Chinese essay. I choose here the example of Lu Xuns' essays. One of Lu Xun's rhethorical means in his essays is the digression. The digression is closely related to marginalism and essayism: <br /> <br /> In some of his essays, Lu Xun digresses from his actual subject. This phenomenon increases in his later work. Following Wilpert, digression is one possible expression of conscious scepticism and a warning signal, that something is wrong.<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Walf 1996 in his article “Marginalism in the Daoism” portrays the margi¬na¬lis¬m as an aesthetic, which in China are linked close to the tradition of scepticism of Wang Chong (27 - 97). As a youth, Lu Xun was optimistic about the impact of literature on society. He soon lost this optimism, as documented in “Preface to ‘Call to Arms’” (Lu Xun 1922b). Finally, he became a sceptic regarding the possibilities of literature to change society.<br /> <br /> 1, digression on purpose<br /> <br /> In 1926, in his essay on “Wuchang, the Ghost of Perishable Life” (Lu Xun 1926b) Lu Xun digressed to contemporary critic on his contemporary Chen Xiying. In “Illustrations of 24 Examples of Children Piety” (Lu Xun 1926a), he protested against the slogan “Down with the colloquial language”. Lu Xun uses here historiographical and autobio¬gra¬phical essays for appeals of daily-political value.<br /> <br /> 沃夫1996年在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，这在中国与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。他很快就失去了这种乐观，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学改变社会的可能性产生了怀疑。<br /> 1.故意离题<br /> 1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中转移了对他同时代的陈希英的当代批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 08:57, 26 November 2020 (UTC)<br /> <br /> 1996年沃夫在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，在中国，这种边缘主义与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。但这种乐观很快就消失不见，，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学能否改变社会产生了怀疑。<br /> 1.故意离题<br /> 1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中改变了对他同时代的陈希英的当代批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值.--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:51, 26 November 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> 2, not targeted digression<br /> <br /> In May 1927, Lu Xun starts his “Morning Blossoms Picked at Dusk - Afterword,” continues to write it until July 11 (Lu Xun 1928b). It becomes a full-length essay, which again describes historiographically the character of the servant of the underworld Huo Wuchang and Si Youfen. <br /> <br /> 3, Marginalism as experiment<br /> In the essay “What the Youth Should Read” (Lu Xun 1919), the actual essay does not appear in the text body, but in the footnote. On a questionnaire Lu Xun answers the question about recommended literature shortly, that he never paid attention to this and therefore could not recommend anything. But he makes a footnote, where he starts writing freely. The subject of the questionnaire with the essay in the footnote corresponds parodistically to the classical “discussion” of a “subject”.<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> 4, Marginalismus for its own sake with sociocritical side blows<br /> <br /> In 1924, Lu Xun writes the consciously trivial essay “My Moustache” (Lu Xun 1924). In this essay, he makes fun of the things, other people are interpreting into the shape of his moustache. After that, he writes the even more trivial essay “From the Moustache to the Teeth” (Lu Xun 1925a), where he mocks about the fact, that the readers are reproaching him with banality.<br /> <br /> 5, Marginalism as understatement with surprising effect<br /> <br /> Montaigne, too, consciously introduces his essays with understatement. Lu Xun wraps explosive contents into essays, which are titled with marginal headers: In the essay “Idle Thoughts at the End of Spring” he compares the paralyzing effect of Confucianism with the poison of a dangerous wasp (Lu Xun 1925b).<br /> <br /> 4、社会批判的一面打击了边缘主义<br /> <br /> 1924年，鲁迅写了一篇自觉琐碎的散文《我的胡子》（鲁迅1924）。在这篇文章中，他调侃的事情，别人都在解读成他的胡子形状。在那之后，他写了一篇更为琐碎的文章《从胡子到牙齿》（鲁迅1925a），他嘲笑读者指责他平庸的事实。<br /> <br /> 5、边缘主义是一种效果惊人的轻描淡写<br /> <br /> 蒙田也有意识地低调地介绍他的文章。鲁迅把爆炸性的内容包装成随笔，这些文章的标题是边缘标题：在《春末闲思》一文中，他把儒家思想的麻痹作用比作危险黄蜂的毒药（鲁迅1925b）。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:39, 27 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> In “Casual Remarks under the Shine of a Lamp” he assumes the Chinese people, that they wanted to be slaves forever, in history as well as in the future (Lu Xun 1925c). In the autobiographical essay “Lightweight Reminiscences” he explains his decision to go to study in Japan (Lu Xun 1926c).<br /> <br /> Another example for the awareness of the origin of the essay is Qian Zhongshu's essay collection ''Marginalia of Life'', Shanghai 1941. In it, Qian mocks about human failures, like hypocrisy, humorlessness and groups of people like guards of morality, charlatans, literary reviewers, etc. (see Ba Ping, 1168 - 1173).<br /> <br /> '''Questioning the genuiness of the Chinese essay'''<br /> <br /> 散文起源认识的另一例子是1941年钱锺书在上海发表的“围城”散文集。文中，他嘲讽人类的失败，比如伪善，缺乏幽默感，以及一群如道德卫士，江湖骗子和文学评论员等的人。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 26 November 2020 (UTC)<br /> <br /> 在《灯光下的随评》中，他认为中国人想成为永远的奴隶，不论是在过去还是在未来(Lu Xun 1925c)。在自传体散文《轻量回忆》中，鲁迅表明他决意去日本学习(Lu Xun 1926c)。关于这种意识的起源在文章中的体现，另一例子是1941年钱锺书在上海发表的散文集《写在人生边上》。文中，他嘲讽人类的失败，如伪善，缺乏幽默感，以及一群人如道德卫士、江湖骗子、文学批评家等等。(see Ba Ping, 1168 - 1173) 质疑中文文章的真实性--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:24, 27 November 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> To solve the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Washington Irving's essays by Lin Shu 1907, Joseph Addison's by Ma/Gan 1911). The current form of the genre is mostly based on the influence of Western essay translations (for Chinese translations of English essays in the 1980s and 1990s see appendix). First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only.<br /> <br /> 为了解决有关中国文论是起源于本土传统还是受西方翻译影响的争议，人们认为这两种传统有相通之处：从1907年开始，西方翻译就通过中文翻译引入文学改革运动的作家们的文论，（1907年林纾翻译的华盛顿欧文的文论，1911年马/甘翻译的约瑟夫·艾迪生的文论）。 该类型的当前形式主要是基于西方文论翻译的影响（有关20世纪80年代和90年代英语论文的中文翻译，请参见附录）。 首先发展了中国散文传统，有意识地在语言，形式和术语上依赖西方模式，其拥护者很快屈从于仅从中国历史中继承中国文论传统的诱惑。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:00, 27 November 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).<br /> Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Pršek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition. <br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition: for example, Lu Xun with his theory “'Zhankai' shuo yu 'mengya' lun “展開”說與“萌芽”論” (Theory of “Starting” and “Blossoming”) came to see the fighting and critical character of the essay of the Jin Dynasty (265-420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the biji (occasional notes) of the Ming, although he still tried to integrate the English essay in his “Gonganpai yu Yingguo xiaopin 'hecheng' lun 公安派與英國小品“合 成”論” (Theory of the Synthesis of the Gongan School and the Engli¬sh Essay). <br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1934, the anarchist and later member of the Guomindang Wu Zhihui [1932].<br /> <br /> Wang Zengqi in 1993 regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays. The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.<br /> <br /> 五四运动时期的许多作家都可以被称为传奇，他们演绎着个人的观点对叙述史实有多大的影响。所以作家都认为英文文章是中文文章的鼻祖：周作人，1921，鲁迅，1934，无政府主义者以及后来的国民党吴稚晖（1932）。<br /> <br /> 汪曾祺1993年写到他感到很遗憾五四运动时期文学作品里的中国传统文化没有留下，当代文学作品中也没有体现，中国文学主要是用来学习的，人们主要是通过查阅其来证明其中的理论。你可以找到每一时期每个话题的例子，因为文章海纳百川。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:30, 27 November 2020 (UTC)Wu Zijia<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> '''Formation of Modern Subjectivity and Essay:''' <br /> <br /> '''Zhou Shoujuan’s “In the Nine-Flower Curtain”'''<br /> <br /> '''Jianhua Chen'''<br /> <br /> '''Abstract'''<br /> <br /> How to define the modern Chinese essay? Is it modern because of using ''baihua''? Does it start from its naming of ''sanwen''? While scholars identified its origins with May Fourth literature, the complicated trends of literary modernity in the first two decades of the 20th century was neglected. Relating Zhou Shoujuan, a major figure in the Mandarin Ducks and Butterflies school, to his contribution to the formation of modern Chinese essay has to encounter the problems of literary canons in modern China. <br /> <br /> Zhou Shoujuan’s “In the Nine-Flower Curtain” (''Jiuhua zhang li'') reveals that this 1917 vernacular “pillow talk” (''qinghua'') in the wedding night came out of chaotic conditions of literary genre before the generic system of poetry, fiction, prose, and drama is established in the May Fourth period.<br /> <br /> 如何界定现代汉语散文?是因为使用了“百花”才变得现代吗?它是从“三文”的名字开始的吗?虽然学者们将其根源归结为五四文学，但20世纪头20年文学现代性的复杂趋势却被忽视了。把鸳鸯蝴蝶派的主要人物周瘦娟与他对中国现代散文形成的贡献联系起来，必然会遇到中国现代文学经典的问题。<br /> <br /> 周瘦娟的《九花帘》揭示了这段1917年《新婚之夜》中的白话“枕边话”（“清华”）是在“五四”时期诗歌、小说、散文、戏剧的通俗体系建立之前，从文学体裁的混乱状态中走出来的。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:01, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> 如何界定中国现代散文?是因为使用了“白话”才成为现代散文吗?“散文”这一名字出现就有了现代散文吗?当学者们将其根源归结于五四文学，便忽视了20世纪前20年文学现代化的复杂趋势。鸳鸯蝴蝶派的重要人物周瘦娟对中国现代散文的形成作出了重要贡献，但仍面临着现代中国文学经典的问题。<br /> 周寿鹃的《九花帐里》揭示了在五四时期诗歌、小说、散文、戏剧等整体体系尚未建立之前，1917年出版的《新婚夜》中的白话“情话”是在文学体裁混乱的情况下产生的。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:56, 26 November 2020 (UTC)<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Obsessed with first person narratives it hybridizes diary, love-letter, autobiography, and journalist reportage. I will argue that this Butterflies obsession with subjective genres in the early 20th-century lays a foundation for the growth of modern Chinese essay. <br /> <br /> The theatrical devices used in this work create a double self in the narrative space - the self as a performer and the self in the beholders’ gaze. This paper emphasizes that the rhetoric of theatricality is indebted to the repertoires of traditional poetry and drama, which become unavailable when the New Literature triumphs in the 1920s. <br /> <br /> Furthermore, I will elaborate how the theatricality helps to construct an early Republican subjectivity based on the divisions between the individual, family and nation-building.<br /> <br /> 痴迷于第一人称叙事，它杂糅了日记、情书、自传和记者报道。我将认为，《蝴蝶》在20世纪初对主观文体的这种痴迷，为中国现代散文的成长奠定了基础。<br /> 这部作品所使用的戏剧手段在叙事空间中创造了一个双重的自我--作为表演者的自我和观看者目光中的自我。本文强调，戏剧性的修辞是依赖于传统诗歌和戏剧的剧目，而当新文学在20世纪20年代取得胜利时，这些剧目就变得不可用了。<br /> 此外，我还将阐述戏剧性如何帮助建构一种基于个人、家庭和国家建设之间划分的早期民国主体性。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:10, 26 November 2020 (UTC)Xiao Ting<br /> <br /> 由于痴迷于第一人称的叙述，它混合了日记，情诗，自传和新闻报道这些体裁。我认为 20世纪初对《蝴蝶》这种主观体裁的痴迷为中国现代散文打下了基础。<br /> 作品中的戏剧手段在叙述空间中创造出了双重自我- 身为表演者的自我和旁观者眼中的自我。本文强调戏剧性的修辞得益于传统诗歌和戏剧，当20世纪20年代新文学成为主流时传统诗歌和戏剧就退出了舞台。<br /> 此外，我将阐述戏剧性如何帮助建立一种基于个人、家庭和国家建设划分之上的早期的民国主体性。 --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:44, 27 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> ''Twilight is that moment of the day that foreshadows''<br /> <br /> ''the night of forgetting, but that seems to slow time itself,''<br /> <br /> ''an in-between state in which the last light of the day may''<br /> <br /> ''still play out its ultimate marvels.'' <br /> <br /> Andreas Huyssen. ''Twilight Memories''<br /> <br /> By way of tackling the origins of modern Chinese ''sanwen'', this paper opens up a zone of “twilight memories” of literary modernity early in the twentieth century, which has recently haunted the field of modern Chinese literature. In terms of modern Chinese ''essay'' or ''prose'', how do we define this genre? Is it modern because it uses ''baihua''? Does its ''modern'' start from being called ''sanwen''? How was the May Fourth generic system established? And what were its consequences to literary history? <br /> <br /> Andreas Huyssen, Twilight Memories: Making Time in a Culture of Amnesia (New York and London: Routledge, 1995) 3（文献 无需翻译）<br /> <br /> Since the 1980s, searching for Chinese literary modernities other than May Fourth have continued with rigor. In this vital current of scholarly reflections on Chinese literary modernities, prominent are Milena Dolezelova-Velingerova’s emphasis on late Qing origins of modern Chinese literature (“The Origins of Modern Chinese Literature,” in Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era (Cambridge and Mass.: Harvard University Press 1977) 17-36; The Turn of the Century Novel (Toronto University Press, 1981), Perry Link’s path-breaking study of the Mandarin ducks and Butterflies fiction (Mandarin Ducks and Butterflies: Popular Fiction in Early Twentieth Century China (Berkeley: University of California Press, 1981)), Liu Ts’un-yan’s advocacy of “Middle-blow Fiction” (Chinese Middle-blow Fiction: From the Ch’ing and Early Republican Era (Hong Kong: The Chinese University, 1984)), and recently David Wang’s exciting and sophisticate interpretation of late 19th-century novels (Fin-de-Siecle Splendor: Repressed Modernities of Late Qing Fiction, 1848-1911 (Stanford: Stanford University Press, 1997)). In a larger context, approximately in the same period, this basically north American academia has interacted the rapidly changed literary criticism in China - from the theories and practices of “rewriting literary history” with a revision of “twentieth-century Chinese literature” (Chen Guoqiu, ed., Zhongguo wenxueshi de xingsi (Reflections on the history of Chinese literature) (Hong Kong: Sanlian shudian, 1993).（文献，无需翻译）<br /> <br /> “黄昏是一天中有预兆的时刻”<br /> “遗忘之夜，却似乎延缓了时间本身，”<br /> “一种中间的状态，在这种状态下，可能是白天的最后一丝阳光”<br /> “仍在上演它的终极奇迹。”<br /> Andreas Huyssen。<br /> 《暮光之城》的记忆”<br /> 本文通过对中国现代“散文”起源的探究，开辟了20世纪初文学现代性的“朦胧记忆”区，这一“朦胧记忆”区最近一直困扰着中国现代文学领域。从现代汉语的“文章”或“散文”来看，我们如何定义这一体裁?它之所以现代是因为它使用了“白话”吗?它的“现代”是从被称为“散文”开始的吗?五四通用制度是如何建立的?它对文学史的影响是什么?<br /> 自20世纪80年代以来，对“五四”以外的中国文学现代性的探索一直在继续。<br /> 在对中国文学现代性的学术反思中，最突出的是Milena Dolezelova-Velingerova对晚清中国现代文学起源的强调(“现代中国文学的起源”，Merle Goldman, ed.，《五四时期的现代中国文学》17-36;世纪之交的小说，Perry Link对鸳鸯蝴蝶小说的开创性研究(《鸳鸯蝴蝶:二十世纪初中国的通俗小说》)，刘子彦对“中庸小说”的倡导，以及最近王大卫对19世纪晚期小说的激动人心的、复杂的解读。在一个更大的背景下，大约在同一时期，这一基本上是北美的学术界从“重写文学史”的理论和实践与《二十世纪中国文学》(陈国秋主编，《中国文学》)的修订，相互影响了迅速变化的中国文学批评。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:29, 27 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> With these questions, our inquiry into the formation of modern sanwen is inevitably engaged with a process of canon formation, and perhaps this is the appropriate genre by which we can trace the birth of modern subjectivity. In analyiss of Zhou Shoujuan’s (1894-1968) “In the Nine-Flower Curtain” (Jiuhua zhang li), a vernacular autobiographical fiction published in 1917, I will reveal no more than a historical chaos of literature in which a subjectivity was constructed with complex strands in fusion and contestation. This subjectivity owed much to first person narratives Zhou had intensely experimented in his earlier writings; its double voice was not only helped by the traditional theatricality and poetics, but also linked to the modern spatial perception of cinematic representation.<br /> <br /> 有了这些问题，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周寿娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示一场文学的历史混沌，在这种混沌中，用融合和争鸣的复杂线索建构了一种主体性。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 07:57, 26 November 2020 (UTC)Xiao Yining<br /> <br /> 随着这些问题的出现，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周瘦娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示的不过是一场文学的历史混乱，在这种混乱中，主体性是由复杂的线在融合和争鸣中建构起来的。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:27, 26 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xie Fan 解帆==<br /> <br /> To set the terms from the outset, the ''sanwen'' will be treated historically as a canonical category grown out of the May Fourth literature. The term ''xiaoshuo'' (fiction, small talk) by which Zhou’s work was categorized will also be historicized. Immune from the modern generic system, it was transitionally intertwined with prose, fiction, drama, and other subgenres in the repertoire of traditional literature. My analysis of the work in question aims at revealing literary modernity of the period in its own terms, rather than redeem Zhou, a key figure of the so-called “Mandarin Ducks and Butterflies school” (''Yuanyang hudie pai''), for his contribution to the birth of modern essay. Nor will I provide a generic definition of modern essay other than open up a new terrain to inquire different genealogies of literary modernity.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> '''Literary Modernization: Generic and Canonical'''<br /> <br /> One of the spectacles in the literary arena of late 1990s China was the revival of the Mandarin Ducks and Butterflies (hereafter Butterfly) literature. Along with countless reprints of Butterfly fiction commercially catering to the post-socialist urban readers, there were sympathetic academic reappraisals that apparently challenged the May Fourth canon. Since the 1980s, the rapidly changed landscape of literary criticism marked a transformation of the critical codes from “revolutionary literature” to “literary modernity.” “Pure literature” (''chun wenxue''), a core value of literary modernity, was developed by a new generation of literary critics and academics and was ambiguously engaged with the post-socialist conditions: on the one hand, literary criticism was academically institutionalized and practiced with certain intellectual authorities; on the other hand, the “pure literature” was suspicious of its modernist poetics which implied a subversive force to the status quo.<br /> <br /> In recent few years around a dozen of scholarly-edited series of Butterfly literature appeared, not to mention other numerous compilations for commercial purpose. To mention a few: Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (Nanjing: Nanjing chubanshe, 1994); Fan Boqun and Fan Zijiang, eds., Yuanyang hudie-Libailiu pai jingdian xiaoshuo wenku (Nanjing: Jiangsu wenyi chubanshe, 1996); Wei Shaochang, ed., Yuanyang hudie pai libai liu xiaoshuo. (Tianjin: Chunfeng wenyi chubanshe, 1997); Yu Runqi, ed., Qingmo minchu xiaoshuo shuxi (Beijing: Zhongguo wenlian chuban gongsi, 1997). （文献，无需翻译）<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Today, the difference between May Fourth and Butterfly was not discussed in terms of “revolutionary vs. reactionary” or “progressive vs. backward,” but rather in terms of ''ya'' (elitism, elegance) vs. ''su'' (populism, commonality). While the Butterfly scholarship carved out a critical space in the name of “popular,” the price was high: their proteges can only be canonized through the codes of May Fourth literary modernity. If what underlay the literary modernity, - the premises of progressive history or of national literature - remained unquestionable, then Butterflies can only be considered inferior.<br /> <br /> ==Xu Jing 许晶==<br /> <br /> For example, in his recent reevaluation of ''Yuanyang hudie pai'', Wei Shaochang, whose pathbreaking bibliography of Butterfly published in the early 1960s made a study of this school possible, affectionately called this term “a beautiful cap” (''meili de maozi''). Yet this metaphor implies a re-justification of the “cap” imposed on it by the May Fourth writers. Accordingly, Wei maintained that even the best Butterfly works, despite their accomplishments, fail to compete with Lu Xun, Mao Dun and other modern literary giants in terms of intellectual and aesthetic qualities. <br /> <br /> Furthermore, until recently scholarly interests in Butterfly never went beyond fiction.<br /> <br /> See Wei Shaochang, Wo kan Yuanyang hudie pai (My view of the Mandarin Ducks and Butterflies literature) (Taiwan: Commercial Press, 1992) 1-11. One month ago, the first international conference on Butterfly school was held at Suzhou University, China, and one of its designed events was to celebrate the publication of A History of Modern Chinese Popular Literature, an enormous and enduring project fulfilled by the Chinese department of the host university. With a massive masquerade of Butterfly literature from the late Qing to Republican era (1,500,000 characters), this book boldly claims a new theory that the modern Chinese literature is constituted by a “pair of wings” - May Fourth and Butterfly. In this revision, the literary histories heretofore are invalid since they missed the other half - the popular literature. Thus, a new correct history of modern Chinese literature was called for. Impressively, this theory was unanimously accepted by all the participants, including notable May Fourth scholars Jia Zhifang, Yan Jiayan, and Qian Gurong. Nevertheless, this acceptance seemed more theoretical than practical, more sympathetic than critical. The problem remained unsolved and more crucial to the future of Butterfly scholarship: How to evaluate Butterfly in terms of aesthetic values? During the conference, the debates over the term “tongsu” (popular), by which the Butterfly was labeled, revealed certain anxiety. This anxiety had some reason: if Butterfly is limited to the popular, it would be inferior to the “pure literature” (chun wenxue), and, of course, ultimately it would be subject to the elite - May Fourth. In other words, if this popular “wing” is not strong enough, the double wing theory itself would hardly hold. The hidden core of the debates is that the May Fourth canon continues to dominate the field of literary criticism.(文献，无需翻译)<br /> <br /> ==Xu Jing 许静==<br /> <br /> In 1997, a new claim for Butterfly essay arose when an eight-volume series ''The Compendium of Essays by Mandarin Ducks and Butterflies school'' (Yuanyang hudie pai sanwen daxi) was published. Implicitly, by the term ''daxi'' in the title, this series contended with the May Fourth canon, as it reminded one of the well-known ''Zhongguo xin wenxue daxi'' (The Compendium of Modern Chinese Literature) in ten volumes published in 1935, which became a monumental for the May Fourth literature. In his introduction, Yuan Jin, chief-editor of this ''Compendium of Butterfly Essay'', asserts that prior to the May Fourth period Butterflies had greatly achieved in essay writings. <br /> <br /> Yuan Jin, Yuanyang hudie pai sanwen daxi: 1909-1949 (Shanghai: Dongfang chuban zhongxin, 1997) 3-4. （文献，无需翻译）<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Although after the 1920s most of them gradually accepted the new concept of ''sanwen'' used by May Fourth writers, they wrote in both vernacular and classical, and their essays still inherited the traditional literature, specifically the styles of ''xiaopin'' and ''biji''. Emphatic on their thematic and aesthetic characteristics as “representing quotidian life, the private feelings and tastes,” Yuan suggests that the Butterfly essay has its own literary and cultural roots. <br /> <br /> The ''Compendium of New Literature'' serves a linkage ''par excellence'', for it displays how a canon is formed by defining a genre.<br /> <br /> 尽管在20世纪20年代以后，他们大多数都逐渐接受了五四作家用的“散文”这个新概念，他们既用白话文也用文言文写作，他们的文章仍然继承着传统文学，尤其是“小品”和“笔记”的风格。袁强调这些文章的主题和美学要素“体现着现代生活，私人感情，和品位，”他认为蝴蝶散文的文学性和文化都有着自己的来源。<br /> 《新文学纲要》起着连接伟大作品的作用，它体现了经典是如何通过定义一种文学流派而形成的。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:29, 27 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> As the view that the form of modern Chinese essay was born from May Fourth literary movement was still prevailing, it is necessary to see how this modern myth was made. At least, a kind of authentic definition of modern essay was explicated by Yu Dafu (1896-1945) and Zhou Zuoren (1885-1968) in their introductions to the ''sanwen'' anthologies they separately compiled for the ''Compendium''.<br /> <br /> At the time, almost two decades had elapsed since the May Fourth movement. And the New Culture, as incessantly embracing diverse isms from the West on the one hand and tortured by national and intellectual crises on the other, became more ideologically charged and consequently split into antagonistic camps.<br /> <br /> For example, Fan Peisong. Zhongguo xiandai sanwen shi (A History of Modern Chinese Essay) (Nanjing: Jiangsu jiaoyu chubanshe, 1993) 3. The first sentence: “The history of modern Chinese essay opened its curtain when the May Fourth new cultural movement started.”（文献，无需翻译）<br /> <br /> 有观点任务中国现代散文的形式诞生于五四文学运动，这一观点仍然盛行，该现代迷思是如何产生的值得一看。至少，郁达夫（1896-1945）和周作人（1885-1968）在他们各自为《纲要》编撰的“散文”选集时，于引言部分给予了现代散文一个真正的定义。<br /> <br /> 当时，五四运动已经过去了近二十年。新文化运动一方面不断地接受来自西方的各种主义，另一方面又受到民族和知识危机的折磨，更受意识形态的控制，并因此分裂成对立的阵营。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:26, 26 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> As for these invited editors, their relationships (for example, between Hu Shi and Lu Xun, or between Mao Dun and Yu Dafu) were ruined by political arguments, or by personal quarrels and insults. All these, however, did not prevent them from being together to make a new literary myth. It was unlikely that they would return to the old days, yet this tremendous project certainly offered each of them a role of literary master in reshaping the May Fourth history.<br /> <br /> 至于这些被邀请的编辑，他们的关系（如胡适与鲁迅的关系，茅盾与郁达夫的关系），则毁于政治争论，或个人的争吵与侮辱。然而，所有这些，都不妨碍他们在一起创造新的文学神话。他们不可能再回到从前，然而这个巨大的工程无疑给他们每个人提供了作为文学大师重塑五四历史的机会。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:06, 27 November 2020 (UTC)Yang Chenting<br /> <br /> 至于这些被邀请的编辑，他们的关系(例如胡适和鲁迅的关系，茅顿和郁达夫的关系)被政治争论、个人争吵和侮辱所破坏。然而，这一切并没有阻止他们共同创造一个新的文学神话。他们不太可能回到过去的日子，但这个宏大的计划无疑让他们每个人都成为了重塑五四历史的文学大师。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:30, 27 November 2020 (UTC)Xiao Xi<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Compromises were necessary, yet, as a matter of fact, the ''Compendium'' cannot be easily assessed as a whole, for all the works included were miscellaneous and conflicted in content and form. As most editors claimed, using ''baihua'' is the hallmark for the new literature, but there was some flaw in their consensus of excluding the Butterfly School and the Shanghai School (''haipai''), for both schools also wrote in ''baihua''; rather, the exclusions implied moral bias against urbanism. It was no wonder that a great collective effort was made to reconstruct the conception of new, which itself was authoritative, at least theoretically, inbred with the ideas of progressive history, humanistic universality, and the utopian future.<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Thus, traced back to the moment of revolutionary departure, the new literature was portrayed as a myth of rootless origins, a timeless creation, isolated from the past; accordingly, the series presented their self-portraits as literary revolutionaries and cultural iconoclasts. In defining the modern essay, Yu Dafu can hardly figure out where the term ''sanwen'' comes from, left with a vague notion that it probably comes from the translation of the English term “prose.”<br /> <br /> As Yu stressed in his introduction, the greatest contribution the ''sanwen'' genre makes to May Fourth literature is the free expression of individualism.<br /> <br /> <br /> 因此，追溯到革命离开的那一刻，新文学被描绘成一个无根起源的神话，一个与过去隔离的永恒的创造；在此基础上，以文学革命者和文化偶像派的形象展现了他们的自我形象 .在界定现代散文时，郁达夫很难找出“三文”这个词的来源，留下了一个模糊的概念，即它可能来自于英语“散文”这个词的翻译。<br /> <br /> 正如余在导言中强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:55, 26 November 2020 (UTC)<br /> <br /> 因此，追溯到革命离开的那一刻，新文学被描绘成一个无根源的神话，一个与过去隔绝的永恒的创造；因此，这一系列作品呈现了他们作为文学革命者和文化偶像破坏者的自画像。郁达夫在定义现代散文时，很难弄清楚“三文”这个词的来源，只留下一个模糊的概念，认为它可能来自英语“散文”一词的翻译 <br /> <br /> 正如俞正声在引言中所强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:43, 26 November 2020 (UTC)<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> He is fascinated by this new and independent genre, with its multiple modes of representation and creative linguistic capacities distinct from those of fiction, poetry and drama. It is no accident that as a novelist well known for his autobiographical fiction displaying his sentimental, decadent and masochist personae, Yu believes that the essay should be a kind of self-writing in nature. In the same vein, Zhou Zuoren asserts that the modern essay was born from the linguistic shift from ''wenyan'' to ''baihua'', which of course should be attributed to the May Fourth literary achievement. He also gives the highest credit to this genre for its casualty, fluidity and flexibility - its specific capabilities of expressing the author’s own material and spiritual world.<br /> <br /> 他着迷于这一新的独立的文体，其多样的表现方式和创造性的语言能力不同于小说、诗歌和戏剧。作为一个以表现自己感伤、颓废、受虐倾向的自传体小说而闻名的小说家，自然而然地，郁达夫会认为散文本质上应该是一种自我的书写。周作人同样认为，现代散文是在“文言”向“白话”的语言转换中诞生的，这当然要归功于“五四”的文学成就。他还高度赞扬了这一体裁的随意性、流动性和灵活性——这些特质可以表达出作者的物质和精神世界。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:11, 26 November 2020 (UTC)<br /> <br /> 他着迷于这一新的独立文体，其具有不同于小说、诗歌和戏剧的多种表现方式和创造性的语言能力。绝非偶然，作为一个以自传体小说表现自己多愁善感、颓废和受虐倾向而著称的小说家，郁达夫认为，散文在本质上应该是一种自我的书写。同样，周作人断言，现代散文诞生于从“文言文”到“白话文”的转变，这当然应该归功于五四文学的成就。他还对这一文体的随意性、流动性和灵活性--表达作者自身物质世界和精神世界的特殊能力给予了最高的评价。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:42, 27 November 2020 (UTC)Xiao Ting<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> In exalting the sanwen for its charismatic power, both Zhou and Yu exhibit a kind of anxiety, symbolically related to their status not only as masters of modern essay but, more interestingly, as spokesmen of May Fourth individualism. Their anxiety were charged with different motivation and rhetoric, however, for in the mid-1930s, their political and cultural stands were in stark contrast. More pessimistic to China’s internal and external crises, Zhou retreated from the revolutionary frontier of New Culture and turned to cultural conservatism. On the other hand, Yu was more inclined toward the Left Wing radicalism to redeem himself from his early decadent proclivity.<br /> <br /> 在赞扬散文的魅力时，周作人和郁达夫都表现出一种焦虑，这是由于他们不仅是现代散文大师，更有趣的是，他们是五四个人主义的发言人。 然而，他们的焦虑来源于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周作人对中国内忧外患更加悲观，因此他从新文化革命的前沿退隐，转向文化保守主义。另一方面，郁达夫为了弥补自己早期的颓废倾向，所以更倾向于左翼激进主义。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:33, 26 November 2020 (UTC)<br /> <br /> <br /> 周瑜在提升三文的魅力时，表现出一种焦虑，象征着他们不仅是现代散文的大师，更有趣的是，他们是五四个人主义的代言人。他们的焦虑带有不同的动机和言辞，但在 1930 年代中期，他们的政治和文化立场形成了鲜明的对比。对中国的内外危机更加悲观的是，周从新文化的革命前沿退缩，转向文化保守主义。另一方面，余更倾向于左翼激进主义，以弥补自己早期的堕落倾向。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:57, 26 November 2020 (UTC)<br /> <br /> 在赞扬散文的魅力力量时，周和郁都表现出一种焦虑，这象征着他们不仅是现代散文大师，更有趣的是，他们是“五四”个人主义的代言人。然而，他们的焦虑被归咎于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周对中国内忧外患更加悲观，从新文化革命的前沿退隐，转向文化保守主义。另一方面，为了弥补自己早期的颓废倾向，俞正声更倾向于左翼激进主义。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:03, 26 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> While characterizing the modern essay in social and ideological context, Yu emphasized the essayists’ responsibility to search for a harmony between the individual, nature and society. Moreover, he pointed out that May Fourth writers have endured an intellectual ordeal as they had first embraced the individuality and finally discovered the necessity to connect it to society and collectivity thanks to their moral conscience awakened by the bloody May Thirtieth incident. In contrast, Zhou showed a strong tendency of aestheticism and nihilism when claiming that he dislikes discussing ''sanwen'' in terms of history, political partisanship or any new isms.<br /> <br /> 在描述社会和意识形态背景下的现代论文的特点时，于强调了论文家在个人，自然与社会之间寻求和谐的责任。 此外，他指出，“五四”作家首先接受了个性，然后由于血腥的“五月三十号”事件唤醒了他们的道德良心，最终发现了将其与社会和集体联系起来的必要性，因此经受了一次智力考验。 相比之下，周声称自己不喜欢在历史，政治党派或任何新思想上讨论“三文”时，表现出强烈的唯美主义和虚无主义倾向。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:59, 27 November 2020 (UTC)<br /> <br /> Yu Dafu. “Daoyan,” in Zhongguo xin wenxue daxi - Sanwen er ji (Shanghai: Liangyou tushu chuban gongsi, 1935) 1-19.（文献，无需翻译）<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Despite their different views, they actually shared the historical perspective in discussing the development and characteristics of modern essay, and neither of them could see beyond their own historical limits. In their reinterpreting the ''new'' literature, the history of form was encoded by the new ideology. First of all, integral with the canonical codes and process, the Compendium definitively presented the modern generic division of ''xiaoshuo'', ''shige'', ''xiju'', and ''sanwen''. Lydia Liu called this four-way division a “self-colonizing project” as these terms were perfectly translatable into “fiction,” “poetry,” “drama,” and “familiar essay,” respectively, in English. Historically, as she pointed out, the canonization of these “translated” norms of literary form radically subverted the classical canon as the legitimate source of meaning for Chinese culture and literature.<br /> <br /> 尽管他们意见分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，他们都无法超越自己的历史束缚。 在他们重新解释“新”文学时，形式的历史是由新意识形态编码的。 首先，与规范代码和过程集成在一起，该纲要明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将此四分方式称为“自我殖民化项目”，因为这些术语完美地翻译成英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式“已译”规范的规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:45, 26 November 2020 (UTC)<br /> <br /> 尽管意见存在分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，这些文章都无法超越自身的历史束缚。 他们在重新解释“新”文学时指出，形式的历史是由新意识形态编码而成的。 首先，该纲要将规范代码和过程融合在一起，明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将这四种方式称为“自我殖民化项目”，这是因为这些术语能完美对应英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式的翻译标准规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:50, 27 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Both Yu and Zhou took this modernized generic system for granted. The genre of essay, according to Zhou, represents the finest achievement of New Literature thanks to its capacities to represent widest scopes of life and individual emotions and reflections, with multiple, sophisticate techniques and styles, yet it is succeeded lastly compared to fiction and drama. Zhou’s discontent can be heard when he traced the tradition of modern essay back to the late Ming ''xiaopin wen'', a move showing his pro-tradition revision that was arguable within the May Fourth camp. But he treated ''sanwen'' as an integral part in the system of four genres, and his discussion of formal problems was restricted by this systemic framework.<br /> <br /> 郁达夫和周作人都视这种现代化的通用体系为理所当然。在周看来，散文这种文体代表着新文学的最好成就。因为散文能够以多样的，复杂的技巧和风格体现广阔的生活视野和个人的情感与思考，它最终与小说和戏剧相比也是成功的。周的不满可以从他追溯现代散文传统到晚明时期的小品文的中寻迹。此举表明了他对传统的修正，也引发了五四阵营中的争论。但他将散文视为四种文体体系中的一个重要组成部分，对形式问题的探讨就受到了这一体系框架的制约。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 10:55, 26 November 2020 (UTC)<br /> <br /> 郁和周都认为这种现代化的通用体系是理所当然的。 在周看来，散文代表着新文学的最佳成就，这是因为散文能够以多样，复杂的技巧和风格，展现最广泛的生活画面和个人情感和思考，最终与小说和戏剧相比较也是成功的。 周的不满体现在他追溯现代散文的传统至明晚期的“小品文”，此举表明他亲传统的修正，在五四阵营中是有争议的。 但是他将“散文”视为锶中文体系中不可或缺的一部分，他对形式问题的讨论受到这种系统框架的制约。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 08:11, 27 November 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It was with this canon of modernized generic division that both Zhou and Yu described sanwen in rational terms, defining its linguistic and literary features in order to assert its superiority to other genres. This assertion was grounded on the legitimacy of the generic system and ultimately verified the system as a scientific and organic whole. In characterizing ''sanwen''’s representational capacities, Zhou used three terms: narrating, reasoning, and expressing emotions. More elaborate was Yu’s characterization with four terms, each of which was matched with an English equivalent in parenthesis – “description,” “narration,” “exposition,” and “persuasion” or “argumentation.” A slightly variant explication was allowed when he at the same time showed his favor to other categorical terms such as the reasoning, lyricism, description, and narration.<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Here Zhou’s notion of ''meiwen'' (beautiful essay) invites our special attention as it is involved with his historical speculation of the genre, which nonetheless suggests something else. Citing his published articles in chronological order, Zhou shows how he had tirelessly explored ''sanwen'' as a new form and at the same time elaborated his own theory of the genre. As he says he still cherishes his original idea that essay should be as perfect as ''meiwen'', which he had advocated as early as the late 1910s. This historical tracing seemed not only to review his insights from the mirror of history, as a matter of fact it aimed at reshaping his politics of “aesthetic essay” in the new cultural situation.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Nevertheless, Zhou’s historicity in the 1935 introduction might reveal more about his painstaking search for the ideal concept of literature if he had drawn deeper from his memory. As early as 1908, he wrote a long essay, whose importance was manifested by its title “On the Significance and Mission of Writing and the Mistakes in Recent Chinese Literary Criticism” (Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi). It reveals his initial idea of ''meiwen'' as he had already talked about it, yet the fact that it was neglected by Zhou in 1935 might be more revelatory, for in 1908 what he really argued for was the term ''wenzhang'' (literature) rather than ''meiwen''. In other words, the excavation of Zhou’s literary past repressed by himself opens up a zone of “twilight memories” to serve my purpose.<br /> <br /> ==Yu Ni 余妮==<br /> <br /> The essay shows how he intensely seeks a legitimate idea of literature between the terms of ''wenzhang, wenxue, and xiaoshuo'', or in a sense it epitomizes a battlefield of naming literature at the time. While sharing the contemporary intellectual consensus that literary discourse is one of the most viable medium to reshape national spirit, Zhou attempts to construct a system of literature by glorifying the idea of ''wenzhang'' which he identifies with the Latin word ''literature''. The ideal of wenzhang is embodied by artistic and affectionate expressions in archaic style (no wonder this essay was written in classical language). In order to enthrone his concept of ''wenzhang'' as a kind of new authentic classicism, he annotates the term by deriving from Western literary theories on the one hand, and on the other he combatively denounces other influential terms such as ''wenxue'' or ''xiaoshuo''.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> Paradoxically, Zhou criticizes Liang Qichao’s notion of ''xiaoshuo'' for its utilitarian bent, yet he embraces it to such an extent that he equates it with the ''wenzhang'', lest it should be furnished with true sincerity in describing reality so as to move human emotions. The terms ''sanwen'' and ''meiwen'' do appear, once for each, and yet were casually treated; the former means trivial and lack of aesthetic quality, and the latter is less than a concept.<br /> <br /> Lydia Liu, Translingual Practice: Literature, National Culture, and Translated Modernity China, 1900-1937 (Stanford: Stanford University Press, 1995) 235.<br /> <br /> Charles A. Laughlin excellently analyzed Zhou Zuoren's advocacy of late Ming xiaopin and its tension within the May Fourth literary theory in his paper &quot;Legacies of Leisure: Late Imperial Influences on the 20th Century Chinese Essay&quot; held at the essay conference in Achern (Germany) in August 25-27, 2000.<br /> <br /> Zhou Zuoren, “Daoyan”, in Zhongguo xin wenxue daxi, Sanwen yi ji (Shanghai: Liangyou tushu gongsi, 1935) 1-14.<br /> <br /> Zhou Zuoren, “Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi.” In Wang Yunxi, Wu Guoping, and Huang Lin, eds., Zhongguo wenlun xuan, jindai juan (Selections of Chinese literary criticism, The modern period) (Nanjing: Jiangsu wenyi chubanshe, 1996) 689-725.<br /> （文献无需翻译）<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Obviously, the text, with his idea and style, looked outmoded by 1935. He had lost the battle of naming. The contestation of these terms resulted in the establishment of literary hierarchy consisted by the concepts of ''wenxue'' that meant literature in general sense, and the genres of ''xiaoshuo'' and ''sanwen'' as its major constituents. While forgetting his past as a neo-classicist, Zhou’s memory was effected by the canonical process of modern division of genres. Nevertheless, dimly echoing his early neo-classical vision he rebelled against the literary division while identifying the “beautiful essay” with late Ming ''xiaopin wen'', though in the end he must remain as a modern master essayist, filled with agony and nostalgia.<br /> <br /> 显然，1935年时，再回首他的这篇文章，从思想和风格来看，都已经过时了。周作人已经输掉了这场命名之战。关于这些术语的论战，直接促成了文学分层。而文学分层主要是由“文学”概念构成，并且还主要包含“小说”和“散文”这两个体裁。周作人虽然业已忘却他身为新古典主义作家的过去，不过他的思维还是受到了现代体裁划分的经典过程影响。不过，在用明朝晚期的“小品文”来判别“优美的散文”同时，简单地重复周作人反对文学层次划分的早期新古典主义思想，他也还是满腹悲伤与思乡，哪怕最终他必须捍卫自己现代散文大师的身份。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> '''Search for New Form and Subject'''<br /> <br /> While the Poetry Revolution (''shijie geming''), Prose Revolution (''wenjie geming'') and Fiction Revolution (''xiaoshuojie geming''), launched by Liang Qichao from 1899 to 1902, signified that Chinese literature entered the modern epoch, the division of literary genres emerged. The most influential and controversial was the Fiction Revolution, for it was traditionally despised yet directly linked with the mass politics that loomed at the threshold of the century. In his famous essay “On the Relationship Between Fiction and the Government of the People” (Lun xiaoshuo yu qunzhi zhi guanxi), Liang claimed that “fiction is the crowning glory of literature,” and that the “new fiction” should embody a new national soul. This intellectual subservience to populism was not whimsical, rather the subversion of poetic reign within the hierarchy of traditional genres served a metaphor for the collapse of traditional value system.<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> As Ted Huters explicated, the transformation of prose theories in late Qing period resulted in the ascendancy of the status of “writing” (''wen'') that is closer to the modern conception of “literature” (''wenxue''). Yet, the Fiction Revolution changed the generic course drastically. Widely anticipated for its superiority in mass education, the concept of xiaoshuo was elevated to the ontological level, as important as that of ''wen''. Although the Prose Revolution carried with it the power of “new prose style” (''xin wenti'') invented by Liang himself, it could hardly compete with the Fiction Revolution. While the “new prose style” was limited in its modes of expression, the literary contours were more vibrant with the movement of ''xiaoshuo''. Put it simply, in this period, what determined the formation of modern essay were the theory and practice of ''xiaoshuo'' rather than those of ''wen''.<br /> <br /> 正如胡志德（Ted Huters）所阐明的那样，清末时期的散文理论导致“文”地位的上升，更接近于现代的“文学”概念。然而，小说革命彻底改变了通用路线。由于小说在大众教育的地位显著，小说的概念已提升到本体论的水平，与“文”的地位同等重要。虽然散文革命有梁启超提出的“新文体”，但其地位还是难以与小说革命相媲美。“新文体”在表达方式上受限，但其文学轮廓比小说革命更加鲜明。简而言之，在这个时期，决定现代散文形成的原因是小说的理论和实践，而非“文”的理论和实践。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 14:57, 26 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> As a matter of fact, literary tradition was reinvented by the notion of new fiction. Contrary to Liang’s expectation, ''xin xiaoshuo'' was still entangled with its tradition; selected and combined by new rules, the tradition offered ''new fiction'' possibilities to adopt literary techniques from the West. Perhaps Liang and his followers created this ambiguity, as the ''xiaoshuo'' came from the Japanese translation of Western “fiction” or “novel” and at the same time it was mixed with traditional popular genres of drama and ''tanci'' (musical and performing story-telling). Ironically, while claiming for its capacities to represent the human realms with “complexity, penetration, vividness, and thoroughness” (''quzhe touda, linli jingzhi''), it was also offered with almost a full range of traditional literary genres for choice. <br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> There was a tension within the “new fiction” between its lofty mission to save China and its tradition of “small talk” - fiction for popular desires. The pendulum did not go back to the “small talk” until the mid-1910s when a new wave of urban periodicals surged, this time catering to intimate space and individual pleasure. This was the time of despair and expectation, of reshaping the public and private spheres, full of conflicts between tradition and modernity in terms of social norms of love, marriage and family. New interests in romances were accompanied with the aspiration for first person narratives from the West, such as memoir, love-letter, diary, and confession. It was no accident that popular magazines and newspapers were saturated with the sad love stories, among which Xu Zhenya’s (1889-1937) ''Yu li hun'' (Jade Pearl Spirit) became a bestseller in 1914. <br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> This weird combination - a tragic romance interwoven with the author’s memory of youth and the style of archaic parallelism - seemed to attract more the refined reading public. Wu Shuangre (1884-1934), a writer also known for tragic romance, redefined the ''xiaoshuo'' as the “opposite to the big discourse (''dashuo''),” his emphasis on the ''smallness'' of fiction was urged by new desire and social needs. <br /> <br /> ==Zhang Hu 张虎==<br /> <br /> Zhou’s intellectual background behind his critique of Liang Qichao and Lin Shu should not be ignored. Influenced by Zhang Taiyan whom Zhou and his brother Zhou Shuren (later Lu Xun) followed during their stay in Japan, Zhou’s archaic vision of literature was based on the conviction that learning from the West by deriving from the Chinese past with deeper and wider scopes can prevent from the danger of populism and mass politics. <br /> <br /> Liang Qichao, “On the Relationship Between Fiction and the Government of the People.” Trans. Gek Nai Cheng, in Kirk Denton, ed., Modern Chinese Literary Thought, 74-81.<br /> <br /> Theodore Huters, “From Writing to Literature: The Development of Late Qing Theories of Prose.” Harvard Journal of Asiatic Studies 47 (1987) 51-90.<br /> （参考文献不用翻译）<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> See, “Zhongguo weiyi zhi wenxue bao Xin xiaoshuo” (The only literary magazine New Fiction in China). Xinmin congbao 14 (1902). When the New Fiction magazine was inaugurated in 1902, Liang and his colleagues lent its representational capacities the widest scopes of lifeworld and the richest literary resources, though in the name of “Western fiction.” The genres include popular song, rhythmic expressions such as drama and musicala storytelling.<br /> <br /> <br /> 参见《中国文学史》。（中国唯一的文学杂志《新小说》）。 新民同保14（1902）。 1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们以“西方小说”的名义，将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。<br /> <br /> 参见《中国唯意志文学报新小说》。（中国唯一的文学杂志《新小说》）。 新民从报14（1902）。 1902年，《新小说》（New Fiction）杂志创刊时，梁启超和他的同事们虽然打着 &quot;西洋小说 &quot;的旗号，将其代表能力赋予了全世界最广泛的领域和最丰富的文学资源。体裁包括流行歌曲、戏剧等韵律性的表现形式和音乐剧故事。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:12, 26 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Zhou meticulously experimented with first person narratives in the mid-1910s. In the wake of collapse of traditional values, literature became a vent for repressed psychology, and meanwhile functioned in reordering the structures of feelings and perceptions that purported to pave a way to rebuilding national spirituality. Therefore, intellectual anxiety was attached to seeking new literary genres. At the time, Zhou was spotlighted on the literary arena with ''Saturday'' (Libailiu), a weekly popular magazine aimed to entertain and educate urban readers mainly by the principles of literary pleasure aimed to articulate and regulate desires of everyday life and consumer psychology. This boom of urban print culture signified an inversion to the previous Fiction Revolution devoted to patriotism and national ethos; its representations focused more on the private realms and individuals, revealing a clearer character of the “small talk.” In this sense, Zhou’s intense uses of first person narratives were a necessity for him to represent a kind of the autonomous individual in urban space as an integral part of the periodical culture.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> “In the Nine-Flower Curtain” appeared in 1917, in the ''Pictorial Story'' (Xiaoshuo huabao) edited by Bao Tianxiao, who announced from the outset that this monthly fiction magazine aims to promote the ''baihua'' fiction. In a history of Chinese literature published in late-1950s, this story was picked out as a typical Butterfly work: “[it is] empty and poor in its content, full of meaningless words and sentences.” However, this biased criticism neglected the fact that this short story was a pioneering ''baihua'' fiction, which appeared in a fiction magazine, which advocated the ''baihua'' prior to the May Fourth movement! 、<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> Indeed, “In the Nine-Flower Curtain” was labeled as ''xiaoshuo'', but the notion of ''xiaoshuo'' in the teens ambiguously crossed the boundaries of old and new, and Zhou had barely the idea of modern ''sanwen''. Rather, shown by the story mixed with the elements of poetry, prose and drama, his understanding of ''xiaoshuo'' was conventional and transitional. Interestingly, some critic conceived that the notion of ''sanwen'' was stemmed from ''xiaoshuo''. In 1914, Cheng Zhi’s essay “Miscellaneous Remarks on Fiction” (Xiaoshuo conghua) holds that nowadays only ''xiaoshuo'' can do what literature can do; it is so important and enchanting that it can fulfill the task of literature while artistically expressing human emotions and aesthetic thoughts. Since all literary expressions, according to him, appeal to optic and audio perceptions, ''xiaoshuo'' contains both ''sanwen'' (prosaic) and ''yunwen'' (rhythmic) texts. The former can be the vernacular or literary language; the latter includes romance drama and rhythmic story-telling. As the chart intricately shows, the ''sanwen'' is sandwiched: on one side it grows out of the trunk of ''xiaoshuo'', and on other side it bifurcates its own branches of literary and vernacular languages. We cannot decide to what extent this concept of ''sanwen'' can be related to that of the May Fourth generic system, yet its connotations were still valid in the Butterfly use after the 1920s. <br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> The chaotic conditions of literary genres opened up new possibilities, and “In the Nine-Flower Curtain,” as a kind of self-representation, exhibited Zhou’s obsession with subjective writings, blended with the elements of dairy, love-letter, confession, and fictional autobiography. Here, I only briefly show Zhou’s devotion to two kinds of the first person narratives - autobiography and lover-letter. These forms adopted by Zhou, no matter it belongs to the concept of ''xiaoshuo'' at the time or more to the ''sanwen'' in today’s standard, had a specific charm of lyricism and sensuality that most appealed to him. One type referred to the subgenre of autobiography - amorous memoirs - a colorful branch in Ming-Qing erotic-sentimental tradition, represented by Mao Xiang’s ''Memoirs of the Plum Shadow Studio'' (Ying mei an yiyu) and Jiang Tan’s ''Reminiscences of the Autumn Lamp'' (Qiu deng suoyi). These texts were included in an anthology titled ''Selections of Memoirs'' (Yiyu xuan) Zhou edited and published in 1920s. <br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Another inspiration came from Washington Irving, whom Zhou considered a literary genius. He highly praised Irving’s ''Sketch-Book'' for its “creativity and uniqueness”; he appreciated most “Westminster Abbey,” “The Legend of Sleepy Hollow,” “The Broken Heart” and “RipVan Winkle.” Interestingly, Zhou understoods Irving through the window of Chinese literary past. He translated the ''Sketch-Book'' into the form of ''biji'', with his comments saturated with the classical poetics: “His writings are secluded and flagrant, limped and stretching far (''youxin danyuan''), like violets in flower-shrubes; they are also delicate and charming, drifting aloof (''qingqian piaoyi''), like a pen thrown into the sky becomes a capricious dragon.” <br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> Zhou’s mania for love-letters evinces his pursuit of the fashion, chic and commercial, in contrast to his literati personality immersed in the erotic-sentimental poetics. Raoul Findeisen rightly pointed out that the genre of love-letter enhances to codify the heterosexual love in modern Chinese literature. This form was introduced into China hand in hand with the assimilation of Western-style customs and the idea of free communication between man and woman. At least in 1911, ''qingshu'' as a translated term for “love-letter” appeared in a funny essay “Ji qingshu zhi xinfa” (A new way to send a love-letter) in ''Shenbao''. As a piece of passionate ''qinghua'', “In the Nine-Flower Curtain” should be connected to Zhou’s “Qingshu hua” (On love-letter), a series of essays he contributed to ''Shenbao'' in 1919. These essays talk about the world famous love stories of Napoleon, Byron, Hugo, and many others, and specifically about how they wrote love-letters. For example, amidst wars Napoleon never forgot to write to Josephine; Zhou translated his words: “I am begging you to receive my thousand kisses, and don’t give me back any of your’s, otherwise my blood will boil.” Also with great zeal he talks about how Hugo wrote 120 letters to his fiancee Adele Forcher. <br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> Known as master of the “sad love story” in the mid-1910s, he wrote numerous short stories which appeared in around a dozen periodicals and newspapers; among them a number of first person narratives were in best quality. While breaking with the traditional love discourse and modes of romance, his love stories depicted new urban subjects in newly formed public spaces such as the public park, tramcar, medical clinic, and movie theater. Most noticeable is his ''Short Stories from Famous European and American Writers'' (Oumei mingjia dianpian xiaoshuo congkan) published in 1917, revealing his ways of dealing with the personal pronounces under chaotic conditions. Among fifty stories included, twenty-six stories belong to first person narrative. Interestingly, in all the eight vernacular texts the first person pronoun is ''wo'', and in the rest eighteen stories in classical language, the first person pronouns are variantly used between ''yu'', ''yu'' and ''wu''.<br /> <br /> 作为1910年代中期描写爱情悲剧的大师，他写了许多短篇故事，并发表在众多期刊和报纸上；其中，那些以第一人称的角度叙述的故事是最好的。他打破了传统爱情故事的语言和抒情方式，他的爱情故事描述了发生在公园、电车、诊所、电影院等新式公共空间的新的城镇主体。更惹人注意的是，他的译作《欧美名家短篇小说丛刊》在1917年出版，揭示了他在嘈杂的环境中处理个人观点的方式。书中所包含的50个故事，其中26个从第一人称的角度进行叙述。有趣的是，在8篇用方言写的文本中，第一人称的代词用的是“wo”，在剩下的18篇用古典语言写的故事中，第一人称的代词多用“yu”“yu”和“wu”。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:05, 27 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> This selection of ''wo'' for the vernacular seemed identical to the establishment of “I” as the male subjectivity in May Fourth literature, but they bore different logic of modernity. Perhaps there was another kind of “translated modernity” in Zhou: the vernacular ''wo'' is not the absolute in the whole anthology. Zhou’s selected uses of the personal pronouns include not only the first person pronouns but the second and third person pronouns, showing a chaotic state of literary subject. He is more plural and playful while experimenting with both the vernacular and the classical, and one is not subject to the other. Fascinated by multiple possibilities in the new literary situations, he was more concerned with ways of using different first person pronouns to suit different modes and styles of representations, in accordance with his own linguistic sensitivity and capability. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Fan Boqun pointed out that Zhou contributed to modern literature in its early phase by experimenting with psychological forms such as diary, epistoral fiction, and that his creative writings were indebted to his translation. See, “Zhu, bian, yi jie jing de ‘wenzi laogong’: Zhou Shoujuan pingzhuan” (A literary laboror in his refined achievements of writing, editing and translating: A biography of Zhou Shoujuan), in Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (A series of modern Chinese popular writers) vol. 4, 177. If this was a late credit to Zhou, there had been another one about his 1917 translation of Famous European and American Short Stories. In the early 1960s he wrote to his daughter revealing the fact that his 1917 translation was praised by Lu Xun and awarded by the Republican Education Bureau, and that he did not know this until he had read Zhou Zuoren’s memoir in the early 1950s. This information was revealed after his literary career was criticized as a reactionary current against the new literature.<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Lydia Liu deals with the use of first person pronoun wo that designates “I” as a central issue of “translated modernity” in modern Chinese literature. Along with wo becoming the only victor in the contests of first person pronouns through heavy traffic of transnational cultures, the male vernacular subjectivity is established (see Lydia Liu, 154-55).<br /> <br /> The Poetics of Persuasion“In the Nine-Flower Curtain” was the author’s “love talk” (''qinghua'') to his bride in the first night of marriage, a passionate confession of his bitter past, with sentiment and self-esteem, and meanwhile he expresses his love and hope for their conjugal life in the future. The narrative begins with a third person account of how the author’s wedding ceremony was held in ''Yeshiyuan'', one of famous public parks in the city, and how in the night his friends gathered in the wedding chamber making fun of the new couple.<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> This brief opening is like the “prologue” in premodern vernacular stories, a device originated from thirteen-century drama. By this convention a stage is set for the drama of the pillow talk, predicting his theatricality. Nevertheless, with the phrase “Zhou Shoujuan says” at the very beginning, the tradition is inverted, for in old days, fiction writing is not a respectful job and the author’s name never appeared. While the vernacular storytellers were too humble to claim his authorship, literati were too proud to do so. Perhaps it was Lin Shu who self-consciously broke with the tradition as he signed his name on the novels he translated.<br /> <br /> 这种简短的开场白就像前现代白话故事中的 &quot;序幕&quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，一开始就用“周守娟说”这句话来颠覆了传统，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，但文人却为之骄傲。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:04, 26 November 2020 (UTC)<br /> <br /> 这种简短的开场白就像前现代白话故事中的 &quot;序幕&quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，有了开头的 &quot;周寿娟说 &quot;这句话，这个传统就被颠覆了，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，文人却骄傲得不敢。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> This self-referential information at the outset is more than a self-promotion: it sets a tone of respectfulness and expectation, evoking a blissful and jubilant atmosphere for what follows. Moreover, the voice from a famous writer suggests new semantics of love and new ways of expressing love. Of course, the marriage is a new chapter in his life; it was the fashion to have a Western-style wedding (''wenming jiehun'') in a public park. The guests are celebrities, novelist, journalists and print entrepreneurs, such as Bao Tianxiao, Chen Diexian, Ding Song, indicative of a newly born social stratum recognized by the urban public.<br /> <br /> 这种自我参照的信息在一开始就不仅仅是自我推销:它设定了尊重和期待的基调，为接下来的事情唤起一种幸福和欢乐的氛围。此外，一位著名作家的声音暗示了爱的新语义和表达爱的新方式。当然，婚姻是他人生的新篇章;在公园举行西式婚礼是当时的时尚。受邀的嘉宾有名人、小说家、记者和报业大亨，如鲍天晓、陈蝶仙、丁松等，他们代表着城市公认的新生社会阶层。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 27 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> When Zhou promises to satisfy his friends’ curiosity about what he said to the bride “inside the curtain” in the first night, he deliberately shifts the scene from the backdrop to the main tableau - the curtain. His wedding, albeit part of his private life, was already exposed by Bao Tianxiao and Chen Diexian who, as Zhou mentioned, had written about this event and published them in newspapers. And Zhou himself announced that his own pillow talk would appear in the ''Pictorial Story''. Aware of his privacy under the public gaze, Zhou spotlighted the “curtain” as center stage, namely in the innermost space of the chamber; this is bold and unconventional. Of the marriage rituals and symbols familiar to the Chinese, those descriptions related to the wedding chamber are most erogenous and mysterious, arousing their erotic and voyeurist desire.<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> In ''Six records of a floating life'' (Fusheng liu ji), a classical autobiography, Shen Fu (1763-?) vividly depicts, “I saw by the light of our wedding candles that Yun’s figure was as slim as before. When her veil was lifted we smiled at each other. And we had shared the ceremonial cup of wine and sat down together for the wedding banquet, I secretly took her small hand under the table. It was warm and it was soft, and my heart beat uncontrollably.” However, readers might be disappointed as there is no such details they expected. Yet to great writers, dealing with the first wedding night is a moment to play with readers’ expectation. For example, in one of Li Yu’s stories, after the bridegroom undresses the bride, he is shocked by the fact that she is a “stone woman” who lacks the sexual organ! In ''Dream of the Red Chamber'', when Baoyu lifts the bride’s veil, he finds Baocai instead Daiyu - he is cheated by his family seniors who makes the substitute; thus the dark side of traditional marriage system is unveiled and the tragic theme of the novel reaches its climax. <br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The narrator’s loving voice begins with: “My Phoenix Lady: This is the first night of our marriage, the first day to raise the curtain of our family life. Whether our chamber will be paradise or hell, the drama opens from the present; whether our life will be sad or happy, we will open our theater today.” The long and passionate pillow talk is lyrical and decorative in style, with verbal and imagery rhetorical devices such as the poetic couplets and parallel sentences, metaphors, and repetitions, blending the classical and Western-style vocabulary and grammar. The bridegroom says: <br /> <br /> From now on, you become a member of my family; your name Hu Fengjun is crowned with the surname Zhou. Since you stepped into the door of Zhou, naturally you will do something for his family. The domestic duty falls on us with weight; we should carry it together: the half of it is on my shoulder, the other half on your’s. We should become one heart in order to overcome innumerable difficulties ahead of us. My old mother needs your good service, the multiple household needs your great care. If sometimes I am worried, you should understand me, and care about me.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> The most important word for husband and wife is “love,” which comes from their mutual understanding and mutual care. If we love each other until the last day of our life, we will spend our whole life in a wonderland with flower and the moon. Every second of our time is gilded with honey and sugar; everywhere in this world is as beautiful as rose. At our ears we often hear the singing birds; before our eyes we often see the flowers in smile. In four seasons, we always have bright and fantastic landscapes around us; the sky looks embroidered, even from cruel storm and frost there grows out the splendid Spring.<br /> <br /> Therefore it is truly important for a couple to love each other, and nothing else is so important. If you have a plenty of money but no love, if you are so tightly fastened by the “red string” that you cannot escape from it, then although you are still husband and wife, how can you feel any happy? Since the ancient time, countless virtuous women were victimized as such. In this first day of our marriage, we should think of a way to make our love forever: each day we should let our hearts meet and mirror each other.<br /> <br /> 夫妻之间最重要的词是“爱”，它来自于彼此的理解和关心。如果我们相爱直到生命的最后一天，我们将在一个有花有月的仙境度过我们的一生。我们的每一秒都充满了甜蜜与糖;世界上任何地方都像玫瑰一样美丽。我们经常听到鸟儿在耳边歌唱;我们经常看到微笑的花朵出现在眼前。在四季中，总是有明亮的和奇妙的风景在我们周围;天空看起来像绣了花一样，即使是残酷的风暴和霜冻也会带来灿烂的春天。<br /> <br /> 因此，夫妻彼此相爱是非常重要的，没有什么比这更重要了。如果你们有很多钱却没有爱情，如果你们被那根“红线”拴得死死的，那么即使你们还是夫妻，你们怎么能感到幸福呢? 自古以来，有无数贤惠的妇女成为这样的受害者。在我们结婚的第一天，我们应该想办法让我们的爱永远:每一天我们应该让我们的心相遇，彼此关照。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 09:57, 26 November 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> A reader of modern taste may frown at the rhetoric of excess and hyperbole, the naive self-indulgence, and the Chauvinist male voice in this early ''baihua'' prattle. But in this early modern phase, what most fascinates the contemporaries are its novelty and hybridity of diverse images and grammars; i.e. the unfamiliar is within the familiar, the modern within the traditional. Perry Link asserted that Butterfly fiction provides “psychological comfort” to the urban readers who feel the pressure of modernity. Yet, “In the Nine-Flower Curtain” provides something more positive than the “psychological comfort”: the narrator’s persuasive voice throughout this pillow talk.<br /> <br /> 具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和沙文主义的男性声音感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:40, 26 November 2020 (UTC)<br /> <br /> 具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和大男子主义色彩的男性话语感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:52, 27 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Embedded in a kind of love philosophy mixed with late Ming discourse of passion (''qing'') and the Romantic influence from the West, this love talk asserts that true love is primarily based on mutual understanding and mutual compassion. A persuasive tone, rather than the didactic or authoritative, prevails the text, and when the persuasion itself it a crucial way to reach and fulfill true love and compassion, its effect depends on refined speech and aesthetic values. For instance, the use of rhythmic repetitions aims to be chantable and enchanting; this audio characteristic is discernibly linked to traditional poetry and drama. The variations of the parallel sentences, poetic couplet, idiomatic phrase and resonant words display the author’s grasp of the repertoire of traditional literature. The sentences “My old mother needs your good service, the multiple household needs your great care” resemble the “four-six” parallelism; the pair of colloquial phrase ''haohao'er'' (well, greatly) comes from vernacular drama or fiction. A contemporary reader might be excited by this Western-style couplet, “You are like the warm sunshine in the summer; I am the bright moon in the autumn.” Or readers may be fascinated by the fresh expression such as “We a pair of mandarin ducks were hit by the Cupiter’s arrow.”<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Narrative strategies are organized around the poetics of persuasion. By the resonant repetitions and variations the narrator changes his manners and tones to make his linguistic performances most persuasive. The nuanced tones range from the stronger “you should,” to the milder “naturally you will” and to the asking “do you understand.” Apart from the prosaic sentences that function in describing things or reasoning the love sermon, the parallel sentences are divided into two kinds: one addresses melodiously to the bride and the other describes lyrically the fantastic scenes.<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to set role models for the bride, a gallery of world-famous women are introduced to add another dimension of the persuasive, mixed with eroticism and ethics, literary references of the East and West. Mrs. Tolstoy helps her husbands devote to and achieve in writing. Liang Hongyu, a legendary heroine who joins her husband to defeat the foreign invaders in thirteenth-century China. It is a persuasive way for a cultural balance in transnational traffic: while the latter a local patriot is internationalized, the former is internalized a la traditional “virtuous wife and good mother.” <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> So far the kind of masculine persuasion is tinged with pedagogy and the sublime, what follows turns to be sweet and flattery. The narrator says he received a letter from his friend, in which the bride is likened to the beautiful Spring Goddess of Greek mythology, to the sweet Julie and the noble Botia, the heroines in Shakespeare’s plays. This symbolic showcase of female world celebrities, whether it be factual or imaginary, articulate to circulate and assimilate not only modern knowledge but refined taste for urban readers; at the same time, the author shows off his familiarity with the Western novelties necessarily acquired by this fashionable writing. Also noticeable is the intertextual traffic in the circulation and assimilation of cultural information occurred in everyday urban space. While the Julia and Botia are transplanted from Lin Shu’s classical translations onto his writing, Zhou popularizes the Western classics and meanwhile elevates the vernacular. One more tricky detail: all about these foreign literary women, as the narrator says, are from his friend’s letter in English, which adds this pillow talk a savor of exoticism and universality. By this Zhou plays out the fancy and fashion with a fashionable style in this fiction.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Cinematic Representation and Republican Subjectivity<br /> In this story, the ''curtain'' crucially serves thematic and formal purposes. It is a piece of furniture that is decorative and ritualistic in the innermost space of the conjugal life, yet by infusing this interior curtain with a cinematic curtain, the narrator creates an illusion of a double curtain, which facilitated his double voice. His self is represented as an individual and collective being, and at the same time speaks to the private and public audience.<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> The phrases “raising the curtain” (''kaimu'') and “opening our theater” (''kaichang'') are cliches for something to start, but the term ''mu'' referring to the theatrical or cinematic curtain was new, after the oral drama and film were introduced from the West at the turn of the twentieth century. Zhou’s pronouncement of opening a theater addressed to the bride sounds happy for pronouncing their new family life; also it is theatrical as the narrator consequently conjures up a “paradise” within the curtain, where birds sing and flowers smile in the spring. Nevertheless, the repetition of theater at the outset of this ''qinghua'' addresses not only to his bride - the exclusive beholder inside the curtain, but also to an audience, namely this curtain faces the implied beholders. Readers are already aware from the prologue that the author predicts to show this pillow talk to his friends. The visual characteristic of the text is inscribed by the imagery title “In the Nine-Flower Curtain,” and by the metaphor of curtain the intimate space is turned into a theater under the public watch. Against a larger cultural canvas, as a kind of imported cultural material, the curtain was applied as a new decorum in urban spaces, such as art studio, or photograph studio. Consequently, it functioned in shaping modern perception about the relations between space, life-world and work of art.<br /> <br /> “拉开帷幕”（开幕）和“开放剧场”（开场）是老生常谈的话题，但“幕”指的是戏剧或电影的帷幕，是二十世纪初从西方引进话剧和电影之后的新词。周先生说要给新娘开戏院，这听起来像是在宣告他们新家生活的幸福，同时也是戏剧性的，因为叙述者由此在幕布内想象出一个“天堂”，在那里鸟语花香，春意盎然。然而，这段情话一开始就重复的桥段不仅是给新娘即帘子里的专属看客看的，也是给观众看的，换句话说这帘子面对的是隐含的看客。读者从序言中已经知道，作者预言要把这番枕边话给朋友看。文本的视觉特征是通过意象标题“九花帘中”来刻画的，通过帘子的隐喻，私密空间变成了公众注视下的剧场。在更大的文化背景下，幕布作为一种舶来的文化材料，以一种新的装饰品被应用于城市空间，如艺术工作室，或摄影工作室。因此，幕布在塑造现代人对空间、生活世界和艺术作品之间关系的认知方面发挥了作用。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:35, 27 November 2020 (UTC)Zou Xinyu</div>

Wu Kai https://bou.de/u/index.php?title=20201123_trans&diff=105074 2020-11-21T04:27:05Z

<p>Wu Kai: /* Xie Ziyi 谢子熠 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> History of Chinese Studies <br /> <br /> 国际汉学史<br /> <br /> Martin Woesler 吳漠汀 (Witten/Herdecke University, Peking Normal University 德國維籐大學，中國北京師範大學)<br /> <br /> Abstract: The roots of Chinese Studies lie as early as Chinese people started to reflect on parts of Chinese culture, which was as early as Chinese culture emerged. Especially foreign people defined Chinese culture distinctly in separation of their own culture, like ancient Greek philosophers and early delegations from the Roman Empire.<br /> <br /> 摘要：汉学的根源可以追溯到中国人开始对中国文化进行反思的时候，也可以追溯到中国文化出现之初。尤其是一些外国人，如古希腊哲学家和罗马帝国的早期代表团，他们定义下的中国文化是与自己本土文化完全分开的。<br /> <br /> ==Chang Huiyue 常慧月==<br /> From the very beginning, Western Scholars of Chinese Studies were closely cooperating with Chinese partners, so that Chinese Studies cannot be limited to Overseas Chinese Studies. Merchants went beyond their trade business and created travel reports and first translations of Chinese literature. Missionaries for the first time studied systematically the Chinese language and culture, translated the Chinese Classics and Four Books into Latin.<br /> 起初，研究汉学的西方学者与中国伙伴密切合作，所以汉学研究并不局限于海外汉学研究。商人不仅从事商业贸易，撰写旅行游记，并且首次翻译了中国文学。传教士第一次系统研究了中国语言和文化，将中国文学名著和四书译成拉丁语。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 01:29, 21 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> Their idealized descriptions of China stimulated the Chinoisérie and the positive reception of China among philosophers of the enlightenment, which saw China as a secular empire. Then, the China-image turned to the worse with Western scholars ascribing China a static nature creating the so-called “Great Divergence”. <br /> ==Chen Hui 陈惠==<br /> This narrative was challenged in the early 1980s with the start of the Opening and Reform Policy. Finally colleges and professorships were established first in the West and then in China. Today, Chinese Studies in the West and in China are enriching each other and are inseparably connected.<br /> <br /> Key Words: Chinese Studies, Sinology, Hanxue, Guoxue, delegations, philosophers, merchants, travel reports, translations, missionaries, enlightenment, Chinoisérie, Great Divergence<br /> 上世纪80年代初，随着改革开放政策的开始，这种说法受到了挑战。最后，学院和教授职位首先在西方建立，然后在中国。今天，西方的中国学与中国的中国学相互 促进，密不可分。<br /> <br /> 关键词:汉学、汉学、汉学、国学、代表团、哲学家、商人、游记、翻译、传教士、启蒙、中国文化、大分流--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 08:07, 20 November 2020 (UTC)Chen Hui<br /> <br /> ==Chen Jiangning 陈江宁==<br /> Definition 定義<br /> <br /> Chinese Studies, also called Sinology (in German: Sinologie) or China Studies (in German: Chinawissenschaften, Chinakunde), is the academic discipline to study China in its geography, history, society, culture(s), language(s), literature(s) etc. It is mainly divided into the study of ancient and premodern China and of modern and contemporary China.<br /> 定义 Definition<br /> 汉语研究是一门研究中国地理、历史、社会、文化、语言等的学术科目，人们也称之为汉学（德语叫做 Sinologie）或者叫中国研究（德语叫做 Chinawissenschaften,Chinakunde）。汉语研究主要分为中国古代和近代研究，以及中国现当代研究。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 03:40, 20 November 2020 (UTC)<br /> <br /> 定义 <br /> <br /> 汉语研究也称作汉学（德语叫做 Sinologie）或中文研究（德语叫做 Chinawissenschaften,Chinakunde），这是一门研究中国地理、历史、社会、文化、语言等各方面的学科，并主要分为中国古代研究、中国近代研究，以及中国现当代研究。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 03:17, 21 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> In the Chinese language, internationally the term “Hanxue” is used (first used in Japan as kangaku漢學/汉学, parallely to the term “Hanyu” 漢語/汉语 for Chinese). The term is not meant discriminative against non-Han minorities, since we have terms like “Hanyu” or “Germanic Studies” (the Germans were an ethnic tribe of many in todays Deutschland). In Chinese, domestically more often the terms “guoxue” 國學/国学 or “Zhongguo xue” 中國學 etc. are used. <br /> ==Chen Jingjing 陈静静==<br /> There is a trend to divide Chinese Studies in sub disciplines dealing with traditional or modern China, while the term “Sinology” is more often applied to the traditional part. In quantity, scholars dealing with traditional China become less and those dealing with modern or contemporary China more. Of course, there are other exotic terms for phenomena related to China or Chinese people, like the term “Tang People Street” 唐人街 for Chinatowns. <br /> ==Chen Sha 陈莎==<br /> Some Chinese scholars interpret the term “Hanxue” as reserved for the study of China by foreigners, implying often that the real “guoxue” could only be conducted by Chinese scholars, arguing you need to grow up in China in order to understand it. However, confronted with the case of overseas Chinese scholars or Western scholars growing up and working in China, the limitation of this racist distinction becomes obvious. <br /> ==Chen Sunfu 谌孙福==<br /> Although in history we have rare examples of foreigners who were able to study China without Chinese partners (starting with language teachers) or without visiting the country, and Chinese Studies today often is conducted by mixed teams of domestic and foreign scholars.<br /> ==Chen Yongxiang 陈永相==<br /> The discipline itself, as established at universities, had a natural focus on language and literature (philology). Today, we have a broad range of sub disciplines like Chinese literature [epigraphy], language, culture, philosophy/ethics/aesthetics, history, political science, sociology, economy) 中国文学[金石学]，语言，文化，哲学、伦理学、美学、历史、政治学、社会学、经济学<br /> ==Cheng Yusi 成于思==<br /> Emergence<br /> Although the first university professorships as we know them today were established only in the 1814, we find the origins of Chinese Studies in early descriptions of China by philosophers. That the empires knew early about each other is proven by delegations, exchanged even two thousand years ago between the Roman Empire and China.<br /> ==Deng Jinxia 邓锦霞==<br /> Later we have records and first translations of travelling merchants (Marco Polo lived in the 13th century and travelled on land and by ship) and then by missionaries (starting with the 16th century). Later we have western philosophers (like Leibniz) and reports in journals dedicated to China.<br /> <br /> 后来，我们有了旅行商人的记录和第一批翻译作品（13世纪的马可·波罗（Marco Polo）在陆地和海上旅行），然后有了传教士（从16世纪开始）。 再后来，我们有了西方哲学家（例如莱布尼兹（Leibniz）），他们在研究中国的期刊上进行报道。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:33, 21 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> The first scholarly view on China had the Christian missionaries, who studied Chinese language and culture in China. Therefore, the first translations of Chinese classics were done into Latin. The term “sinology” since the Latin term “sina” for China seems to point to the Qin Dynastie since 221 BCE. The main purpose of the missionaries was to baptize and therefore they also translated the bible into Chinese and reported on the so far mostly unknown China to Europe, reports which met a huge interest and demand in Europe.<br /> ==Fang Jieling 方洁玲==<br /> Resources 资源<br /> <br /> There are a lot of national histories of Chinese Studies so far, but no detailed international or global history (see references).<br /> The Overseas Chinese Studies Center 海外漢學研究中心 at Peking Foreign Language University 北京外語大學 under the leadership of Zhang Xiping張西平 has been renamed in the 2010s to Research Center for the Study of Chinese Culture 中國文化研究中心#. Here a list of works on the History of Sinology:<br /> ==Gan Fengyu 甘奉玉==<br /> First contacts: Trade (without written documents)<br /> <br /> Genetic evidence shows that there were trade relations from Mesopotamia to Europe and China as early as 11000 BCE (cows, horses) and 10000 BCE (crops). <br /> China very early became an export region, as we can trace the genes of animals back to China 10000 BCE (pigs), 8000 BCE (chicken), and of silk cloth 5000 BCE.<br /> <br /> 首次接触：贸易（无书面文件）<br /> <br /> 基因证据表明：早在公元前11000年了，美索不达米亚就和欧洲，中国有牛羊贸易关系，公元前10000年，就有了农作物贸易关系。追溯到公元前1000年的猪和公元前8000年的鸡身上的动物基因，以及公元前5000年的丝绸来看，中国很早就是个出口地区了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:03, 20 November 2020 (UTC)<br /> <br /> 首次接触：贸易(无书面文件)<br /> <br /> 遗传证据表明，早在公元前11000年(出现如像牛、马等动物贸易)和公元前10000年(出现农作物的贸易)，美索不达米亚与欧洲和中国之间就有贸易关系。追溯到公元前10000年猪的贸易和公元前8000年鸡的贸易，从中发现的动物基因，以及公元前5000年所交易的丝绸来看，中国很早就成为了一个出口地区。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:18, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> 遗传学证据显示，早在公元前11000年美索不达米亚就和欧洲就有了牛马贸易往来；早在公元前10000年，美索不达米亚就和中国有了作物贸易往来。追溯动物基因，我们可以发现，公元前10000年中国就有了猪，公元前8000年就有了鸡，公元前5000年就有了丝绸。因此，中国很早就成为了商品出口地区。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:28, 20 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The Emergence of Chinese Studies: Philosophers<br /> Aristotle (384-322 BC) writes in the 4th century BC: “Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery.”[ Aristoteles: Politeia, Book VII, Part VII, translated by Benjamin Jowett, http://evans-experientialism. freewebspace.com/aristotle_politics07.htm, last visited Dec 5, 2010. In German: „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“, from: Aristoteles: Werke. Griechisch und Deutsch, vol. 6, ed. by Franz Susemihl, Aalen 1978 (Reprint of the edition Leipzig 1879), p. 409.]<br /> 亚里士多德（公元前384年-公元前322年）在公元前4世纪写到：“那些生活在欧洲寒冷气候里的人们，他们充满灵感但是缺乏智慧和技巧；所以虽然他们保留了相对的自由，但却没有政治组织，也没有能力管理其他人。然而，亚洲人聪明而善于发明，但是他们缺乏勇气，所以他们总是顺从和被奴役。” [ 亚里士多德：《政治学》，第七卷，第七部分，由本杰明·乔伊特翻译，http://evans-experientialism. freewebspace.com/aristotle_politics07.htm，访问日期2010年12月5日。德语原文为： „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“，引自：《亚里士多德作品集-希腊人和德国人》，第六卷，由Franz Susemihl, Aalen在1978年出版（1879年在莱比锡再版），第409页。]<br /> <br /> ==Gong Yumian 龚钰冕==<br /> The Emergence of Religious Missions with the Study of China as a by-product<br /> Between 1593-1607 the Spanish Dominican mission in Manila operated a press and produced 4 books on Christian belief. <br /> <br /> 1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书<br /> <br /> In 1583 the influential Jesuit Matteo Ricci arrived in Canton and spent the rest of his life in China.<br /> <br /> 1583利玛窦（耶稣会会士）抵达广州，在中国度过余生。<br /> ==Gu Dongfang 顾东方==<br /> Interest by European emperors in the beginning of the 18th century<br /> In France, the study of China and the Chinese language began with the patronage of Louis XIV. In 1711, he appointed a young Chinese, Arcadio Huang to catalog the royal collection of Chinese texts. Huang was assisted by Étienne Fourmont, who published a Chinese grammar in 1742.<br /> <br /> 在法国，对中国和中国语言的研究始于路易十四的赞助。在1711，他任命了一位年轻的中国人Arcadio Huang对皇家藏书的中文文本进行目录整理。黄的助手艾蒂安Fourmont，在1742年发表了一本中国语法书。<br /> ==Guan Qinqing 管钦清==<br /> In 1732 a missionary priest of the Sacred Congregation &quot;De propaganda fide&quot; from the kingdom of Naples, Matteo Ripa (1692–1746), created in Naples the first Sinology School of the European Continent: the &quot;Chinese Institute&quot;, the first nucleus of what would become today's Università degli studi di Napoli L'Orientale, or Naples Eastern University. Ripa had worked as a painter and copper-engraver at the imperial court of the Kangxi Emperor between 1711 and 1723. Ripa returned to Naples from China with four young Chinese Christians, all teachers of their native language and formed the Institute sanctioned by Pope Clement XII to teach Chinese to missionaries and thus advance the propagation of Christianity in China.<br /> <br /> 1732年，来自那不勒斯的传布信仰圣部的传教牧师Matteo Ripa马国贤（1692–1746），在那不勒斯创建了欧洲大陆的第一个汉学学校：“中国学院”，它后来成为了今天的那不勒斯东方大学。马国贤曾在1711和1723之间担任康熙皇帝的宫廷画家和雕刻师。马国贤从中国回到那不勒斯时，带回了四个年轻的中国基督徒。他们都是汉语教师，组建了学院，在教皇克莱门特十二世的批准下向牧师们教授中文，从而推进了基督教在中国的传播。<br /> <br /> 1732年，那不勒斯王国“圣公会”的传教士马国贤（Matteo Ripa)在那不勒斯创建了欧洲大陆第一所汉学学校“中国学院”，即后来的那不勒斯东方大学。马国贤曾在1711至1723年间担任康熙皇帝的宫廷画师和雕刻师。当他回国的时候，他带回了四个年轻的中国基督徒。他们在教皇克莱门特的授意下，组建学院、担任汉语教师，向牧师们教授中文，从而推进了基督教在中国的传播。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:45, 20 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinoiserie<br /> <br /> Chinese objects of art as symbols of Chinese cultural tradition early spread to Europe, reaching the peak in the 18th century during the period of Chinoisérie“中国风”. Fascinated Collectors saved several artefacts for following generations. Their selection criteria allow to approach the guiding aesthetic principles behind their fascination. European imitations of these artefacts show in their similarities and differences to the originals and to the own cultural traditions the principles they followed to catch the reason for the experienced exoticism during the consumption of the cultural goods. Imitated imitated Chinese-style architecture, imitated Chinese paintings and imitated characters in paintings, tattoos and design, reveal what principles Westerners believed to guide Chinese traditional art.<br /> <br /> 作为中国传统文化象征的中国艺术品很早就传播到了欧洲，在“中国风”时期达到了顶峰。对此十分着迷的收藏家们为后人保存了几件文物。他们的选择标准很接近他们所欣赏的指导性美学原则。欧洲的工艺模仿品表明了他们自己的文化传统和原型的相似性和差异性，他们遵循的原则符合在文化商品的消费过程中对异国情调的体验。在绘画、纹身和设计方面的模仿特点、模仿中国风格的建筑和仿作的中国画，揭示了西方人眼里的中国传统艺术的指导原则。<br /> <br /> ==Guo Lu 郭露==<br /> Europe: Enlightened Philosophers end of the 18th century 欧洲：第18世紀末的启蒙哲学家<br /> <br /> During the enlightenment process in Europe, philosophers in their search for a vision of a world without religious control, discovered China and wanted to understand it as a secular ideal alternative to Europe. (Leibniz: Novissima Sinica, The Orphan of Zhao, Voltaire: wrote play “L'orphelin de la Chine” portrait of Confucius, Giambattista Vico.<br /> <br /> 启蒙哲学家在欧洲汉学（莱布尼茨：《中国近事》，伏尔泰：《赵氏孤儿》、孔子肖像，维柯。<br /> <br /> 1789-… Enlightened philosophers: Saw China as an enlightened kingdom with ethics instead of church and religion<br /> <br /> 1789…启蒙哲学家：看到中国作为一个有伦理的开明王国而不是教会和宗教伦理<br /> <br /> 一个不受宗教控制的世界时<br /> <br /> 在欧洲的启蒙运动中，哲学家们在寻找一个不受宗教控制的世界时，了解到了中国这一国度，并将其视为欧洲脱离世俗的替代品。（莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 19 November 2020 (UTC)<br /> <br /> 一个不受宗教控制的世界时<br /> 在欧洲启蒙运动的进程中，哲学家们在寻找一个不受宗教控制的世界时，发现了中国，并希望可以将其视为欧洲脱离世俗理想替代品。莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》 --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 09:10, 19 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> Europe: Professorships<br /> <br /> The study of Assyriology and Egyptology developed before the serious study of China because of their connections to the Bible; the study of Indology represented a breakthrough in the development of linguistics. Chinese texts, perhaps because they did not have these connections, were the last to be studied in European universities until around 1860 except in France (Zurndorfer, China Bibliography 1999 p. 6, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 由于和圣经的紧密联系，亚述学、埃及学的研究在正规的中国研究前发展充分；印度学研究代表了语言学发展的突破口。可能是因为中国文本和它们没有联系，所以直到1860左右，它才成为除了法国外的欧洲大学最后的研究对象。<br /> ==Han Wanzhen 韩宛真==<br /> The first college to study Chinese was established in Italy. At the Academy in St. Petersburg in Russia, on March 23, 1741, the lecturer 伊拉利昂·罗索欣 started to teach Chinese Studies. He was also part of a mission sent to emperor Kangxi in Qing Dynasty.de<br /> <br /> 首个教授汉语的大学创建于意大利。1741年3月23日，在俄罗斯圣彼得堡的学院，讲师伊拉利昂·罗索欣开始教授汉语学。他还参加了清朝对康熙帝进行的宣教活动。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:22, 21 November 2020 (UTC)<br /> <br /> 首个学习汉语的学院创建于意大利。1741年3月23日，讲师伊拉利昂·罗索欣在俄罗斯圣彼得堡学院开始讲授汉学。该讲师也曾参加清朝对康熙帝进行的宣教活动。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:54, 21 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> On December 11, 1814, the first Professorship of Chinese and Manchu was established at the Collège de France, the sinologist 雷慕莎 Jean-Pierre Abel-Rémusat, who taught himself Chinese, filled the position, becoming the first professor of Chinese in Europe. By then the first Russian Sinologist, Nikita Bichurin, had been living in Beijing for ten years. <br /> <br /> 1814年，研究中国和满族的讲学席位在法国的大学成立。雷慕莎自学了中文，占据了这一位置，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。<br /> 1814年，首个研究中国和满族的讲学席位在法国的大学成立，雷慕莎自学中文，登上了这一席位，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:47, 21 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> Abel-Rémusat's counterparts in England and Germany were Samuel Kidd (1797–1843) and Wilhelm Schott (1807–1889) respectively, though the first important secular sinologists in these two countries were James Legge and Hans Georg Conon von der Gabelentz. Scholars like Legge often relied on the work of ethnic Chinese scholars such as Wang Tao (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 雷慕莎的同仁分别有英国的Samuel Kidd（1797–1843）和德国的Wilhelm Schott（1807–1889），虽然在这两个国家头等重要的世俗汉学家是理雅各和加贝伦茨。理雅各等学者常常依靠华人学者如王韬等人的作品。<br /> <br /> <br /> 阿贝尔·雷穆萨在英国和德国的同行分别是塞缪尔·基德（Samuel Kidd，1797-1843）和威廉·肖特（Wilhelm Schott，1807-1889），不过这两个国家最早出现的重要世俗汉学家是詹姆斯·莱格和汉斯·格奥尔格·科农·冯·德加布伦茨。像莱格这样的学者经常依赖于像王韬这样的华裔学者的作品。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:08, 19 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Stanislas Julien served as the Chair of Chinese at the Collège de France for over 40 years, starting his studies with Rémusat and succeeding him in 1833. not only of classical texts but also works of vernacular literature, and for his knowledge of Manchu. Édouard Chavannes succeeded to the position after the death of Marquis d'Hervey-Saint-Denys in 1893. Chavannes pursued broad interests in history as well as language (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 儒莲担任法兰西学院的汉学教授超过40年，他与雷慕莎一起开始他的研究，并在1833年继承了雷慕莎的工作。他以不仅针对古典文学、而且涉猎白话文学作品的翻译工作和和对满族的了解而闻名。沙畹在德理文于1893去世后继承了他的位置，沙畹在历史和语言领域上兴趣广泛。<br /> <br /> 斯塔尼斯拉斯·朱利安（Stanislas Julien）在法兰西学院（Collègede France）担任中文主席40多年，从雷穆萨（Rémusat）开始学习，并于1833年继任。他不仅学习古典文学作品，还学习白话文学作品，并了解满族。 爱德华·沙畹在1893年侯爵·圣赫尔·圣丹尼斯（Marquis d'Hervey-Saint-Denys）去世后继任。沙畹追求历史和语言的广泛利益（Zurndorfer，中国参考书目1999年第8-14页，引自Wikipedia“ Sinology”， 2018年8月6日）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> Rulian served as a professor of Sinology at the French Academy for more than 40 years. He started his research with Remusa and inherited Remusa's work in 1833. He is famous for his translation work not only for classical literature, but also for vernacular literary works and his understanding of Manchu. Chavannes inherited his position after De Liwen died in 1893. Chavannes has a wide range of interests in history and language. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> After the Opium war 1840, the Department of Oriental Studies at Cambridge University and the SOAS/London University were established.<br /> <br /> In 1875, Leiden University in the Netherlands started and in 1890 the sinologist 考狄 founded the first academic journal by Westerners on China, the Toung Pao 通报.<br /> <br /> 1840年鸦片战争后，剑桥大学东方研究院和英国伦敦大学亚非学院成立。<br /> <br /> 1875年，荷兰莱顿大学成立，1890年，汉学家考狄创办了第一个由西方人撰写的关于中国的学术期刊—《通报》。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:10, 19 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> In 1912, Richard Wilhelm, who had lived in China for about 30 years, taught at the Friedrich Wilhelm University in Frankfurt and established a Chinese Seminar “中国学社” and together with Beiping’s Furen University the journal华裔学志.<br /> <br /> At the end of the 19th century, in Sweden the University of Gotheburg established East Asian Language and Culture Seminar, starting with Sven Hedin, who explored Western China, followed by the the Chinese linguist 高本汉.<br /> ==Jiang Fengyi 蒋凤仪==<br /> The image of China as an essentially Confucian society conveyed by Jesuit scholars dominated Western thought in these times. While some in Europe learned to speak Chinese, most studied written classical Chinese. These scholars were in what is called the “commentarial tradition” through critical annotated translation. <br /> <br /> 那时，中国在西方的形象是靠耶稣会学者传达的，本质上是儒家社会的形象，这样的形象主导了西方思想。在欧洲，有一些人学习说汉语，但大部分人学习写文言文，这些学者学习时会使用批判性的注释，属于“注释传统”的行列。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:05, 20 November 2020 (UTC)<br /> <br /> <br /> 在那个时候，中国在西方的形象在本质上是以耶稣会学者传达的儒家社会为主。在欧洲，有些人学学习说中文，大多数人则学写书面文言文。这些学者们通过批判的注释性翻译处在了所谓的“注释传统”。<br /> <br /> 当时，耶稣会学者所传达的中国本质上是儒家社会的形象主导了当时的西方思想。在欧洲，虽然有些人学说汉语，但大多数人学的是文言文。这些学者是在所谓的“评论传统”通过批评注释翻译。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:32, 20 November 2020 (UTC)Li Lili<br /> <br /> 耶稣会士学者传达的中国作为一个儒家社会的形象在当时根深于西方人的思想中。 尽管有些欧洲人学会了说中文，但大多数人仍然学习古典汉语。 这些学者通过批判性的注释翻译而处于所谓的“注释传统”中。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:31, 21 November 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> This emphasis on translating classical texts inhibited the use of social science methodology or comparing these texts of other traditions. One scholar described this type of sinology as “philological hairsplitting” preoccupied with marginal or curious aspects (Zurndorfer, China Bibliography 1999 p. 14-15, quoted from Wikipedia “Sinology”, August 6, 2018). Secular scholars gradually came to outnumber missionaries, and in the 20th century sinology slowly gained a substantial presence in Western universities.<br /> <br /> 这种强调翻译经典文本的做法阻碍了社会科学方法论的使用或与其他传统的文本的比较。有学者称这类汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者逐渐多于传教士，并在西方大学为20世纪的汉学慢慢积累了实质性存在。<br /> ==Jiang Qiwei 蒋淇玮==<br /> Sinology in Germany 德国的汉学<br /> <br /> Today, in Germany there are about 30 universities and universities of applied sciences with Chinese Studies..<br /> <br /> Since the beginning of the 19th century, people started to conduct research on China. In 1829–1831, the orientalist Carl Friedrich Neumann bought 12,000 Chinese books in Canton, which he shipped to Munich and which became the foundation of the East Asian Collection of the Bavarian State Library as well as the Berlin State Library. Since 1833 Wilhelm Schott taught Chinese and Chinese philosophy in Berlin. <br /> ==Kang Haoyu 康浩宇==<br /> Pioneering research on China were the geological-geographical research trips by Ferdinand von Richthofen since the early 1860s. In 1887 the first Chinese language classes and sinological classes started at the Seminar for Oriental languages in Berlin. In 1889, the first German Chair of Sinology was established at the University of Leipzig, the first full professor was Hans Georg Conon von der Gabelentz. In 1912 the 2nd chair was established in Berlin with J. J. M. de Groot and in 1914 at the Colonial Institute in Hamburg with Otto Franke.<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学讲座在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二任主席由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:12, 20 November 2020 (UTC)<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学委员会在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二个委员会由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立了另一委员会。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:38, 20 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> During colonial times, in which the German Empire held the Chinese colony “Kiautschou”, the interest in Chinese culture grew. The exile of many Chinese scientists in the period of National Socialism harmed the German Sinology sustainably. Since the opening up of the People's Republic of China in the 1980s, Sinology in Germany is no longer among the orchid subjects and new students of Sinology have good job prospects. <br /> ==Kong Xianghui 孔祥慧==<br /> The change of attitude among early China experts with the example of the early reception of the Red Chamber Dreams<br /> <br /> The Red Chamber Dreams shortly after publication in 1791 spread fast among the foreigners’ community including Robert Morrison (who incorporated parts of it into his language teaching material and dictionary already by 1813-1815).<br /> <br /> 早期中国专家态度的转变-以早期接受《红楼梦》为例<br /> 《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 08:59, 19 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The novel also was made known in partial translation both in English and French (by John Francis Davis) in Europe in 1819. However, for a few decades, the Western reviews of the book were mostly negative, revealing an ethnocentric approach, valuing Chinese literature below Western literature.<br /> <br /> 1819年，《红楼梦》的英语和法语（John Francis Davis译）的部分翻译使这部小说知名于欧洲。然而，几十年之后，西方对于该书的评论大多是消极的，他们认为该书呈现出种族中心主义的观点，并且认为西方文学高于中国文学。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:27, 20 November 2020 (UTC)<br /> <br /> 1819年,该小说还被译成英语和法语（约翰·弗朗西斯·戴维斯译（John Francis Davis）），因而在欧洲为人所知。然而，几十年来，西方对该书的评论大多是负面的，这揭示了西方的一种民族中心主义，即认为西方文学高于中国文学。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:43, 21 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> It took almost a century to get to know each other better, to change attitudes from ethnocentric to dialectical, to stop exploiting the novel and to come to the insight that Chinese literature with Dream as one of its masterpieces was not only comparable to other world literatures but also could bring value to Western readers (Mayers 1867).<br /> <br /> 经过几乎一个世纪，双方增进了解，并从“民族中心主义”的优越感向辩证思想转变，停止利用小说互相攻击，开始深入了解中国文学，不仅将《红楼梦》这类杰作与其他世界文学相比较，而且，更重要的是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。<br /> <br /> 几乎一个世纪,增进了彼此的了解。双方从“民族中心主义”转向辩证思想，停止利用小说互相攻击，并开始深入了解中国文学。不仅将《红楼梦》这类杰作与其他世界文学相比较，更是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:17, 20 November 2020 (UTC)<br /> <br /> 近一个世纪，彼此之间增进了了解，从”民族中心主义“的优越感转向辩证思想，停止利用小说互相攻击，并开始深入了解以《红楼梦》为代表的中国文学，它不仅可以与世界其他文学相媲美，而且还可以为西方读者传递价值观。（梅辉立（Mayers） 1867年）。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:30, 20 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> Main Controversies<br /> <br /> a) The Great Divergence<br /> <br /> One of the main controversies in Chinese Studies is that for a long time China appeared economically backward (compared to Western European nations). Sociologists (Marx), philosophers (Hegel), economists (Kenneth Pomeranz: The Great Divergence) and sinologists tried to explain this with the static nature of Chinese economy due to Confucianism.<br /> <br /> 主要的争议<br /> <br /> a)大分流<br /> <br /> 汉学研究的主要争议之一是，长期以来，中国出现了经济落后的情况(与西欧国家相比)。许多社会学家(如马克思)，哲学家(如黑格尔)，经济学家(如肯尼斯·彭慕兰：《大分流》)和汉学家试图用儒家思想所导致的中国经济的静态性来解释这一现象。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:06, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Scholars have questioned this: Angus Maddison suggested that China was leading (rotating ranks with India) by GDP from 0 to 1550 so that the current development was a return to old status. Philipp C.C. Huang concentrated on rural developments and argued that only the concentration of production capibilities during the socialist reforms laid the foundation for today’s Chinese economical miracle. Today, sinologists argue that Confucianism is one of the main reasons for the economical miracle.<br /> ==Li Lili 李丽丽==<br /> “The Chinese have as a general characteristic, a remarkable skill in imitation, which is exercised not merely in daily life, but also in art. They have not yet succeeded in representing the beautiful, as beautiful; for in their painting, perspective and shadow are wanting.<br /> “中国人有种普遍特征，即拥有卓越的模仿能力，这种能力不仅体现在日常生活中，也体现在艺术中。但由于其绘画领域中缺乏透视法和阴影画法，他们无法充分展现事物的美。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:25, 20 November 2020 (UTC)Li Lili<br /> <br /> “总之，这个民族有种罕见的模仿能力，这不仅体现在他们的日常生活中，也用运到了艺术创作当中。美作为美的事物去展示对于这个民族来说并不成功，因为在绘画中缺少了透视和阴影。<br /> <br /> 中国人有一个总体特征，那就是其超凡脱俗的模仿能力。这不仅体现在他们的日常生活中，也运用到了艺术创作当中。由于其绘画中缺乏透视法和阴影，他们无法淋漓尽致地表现出事物的美。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:28, 18 November 2020 (UTC)Mo Ling<br /> <br /> “中国人有种普遍特征：一种卓越的模仿能力，这种能力不仅运用于日常生活中，也运用在艺术领域。但由于画中缺乏透视和阴影，中国人没能成功展现出美感”--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:47, 20 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> And although a Chinese painter copies European pictures (as the Chinese do everything else) correctly; although he observes accurately how many scales a carp has; how many indentations there are in the leaves of a tree; what is the form of various trees, and how the branches bend; - the Exalted, the Ideal and Beautiful is not the domain of his art and skill. The Chinese are, on the other hand, too proud to learn anything from Europeans, although they must often recognize their superiority.” <br /> Hegel, The Philosophy of History (transl. J. Sibree, p. 155)<br /> <br /> 即使中国画家原封不动地模仿欧洲的绘画，如若他知道鲤鱼有多少鳞片……，崇高的、理想的、美的事物也不是他的艺术土壤和擅长之处。” 黑格爾，《历史哲学讲演录》<br /> ==Li Liqin 李丽琴==<br /> b) Chinese and Western scholarship<br /> <br /> Traditional Chinese education (focusing on self development and social harmony) differed much from Western scholarship (search for truth and universal human values). Chinese scholars of guoxue often do not recognize Western scholars of Hanxue as their colleagues. Today there are trends to return to Confucian education, teaching and scholarship in China, taking the Hanlin academy as example (see: Hong Kong College).<br /> <br /> b）中西学问<br /> <br /> 中西方在传统教育方面又很大不同，前者侧重于追求自我发展和社会和谐，后者寻求真理和普世价值观。中国国学学者通常不把西方汉学学者当作同行。如今，儒家教育以及儒学研究在中国如火如荼，以翰林书院为例（见：香港大学）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:19, 18 November 2020 (UTC)<br /> <br /> b）中西学术<br /> 中国传统教育（注重自我发展和社会和谐）与西方学术（追求真理和普遍的人类价值）有很大不同。中国国学学者往往不承认西方汉学学者是他们的同僚。今天，中国教育有向儒学教育回归的趋势，以翰林院为例（参见：香港大学）。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:17, 19 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Also Traditional Chinese Medicine has continued to be an alternative to Western medicine, although the general grouping into Yin and Yang has been proven to be arbitrary since objects/organs etc. historically were assigned to Yang for a time and to Yin at other times. However, acupuncture has been recognized by Western medicine to be effective. Western reproach towards Chinese scholarship is that it is not conducted in a free environment.<br /> <br /> ==Li Meng 李梦==<br /> From Ethnocentrism and Exoticism to Universalism and Dialogue: <br /> the General Trend of Chinese Studies in the West - <br /> A Case Study of the Early Western Reception of Red Chamber Dreams<br /> <br /> 从种族中心主义和异国主义到普遍主义和对话：<br /> 西方中国学之总趋势——以《红楼梦》早期西方接受为例<br /> <br /> Martin Woesler <br /> (Witten/Herdecke University, Peking Normal University, Nanking Normal University)<br /> <br /> Abstract<br /> “Chinese Studies” (Sinology, Chinakunde, Études Chinoises etc.) in general from its origins until today sees a main trend from ethnocentrism and exoticism to universalism and dialogue. Undergoing historical periods of Chinoisérie and then China-bashing during imperialist and colonialist times, Chinese Studies at universities and in associations like the German China Association has established a more objective view on China. <br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，汉学在大学和学术协会（如德中协会）里建立了一个对中国更为客观的看法。<br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，大学和学术协会（如德中协会）的汉学建立了一个对中国更为客观的看法。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:40, 21 November 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Ethnocentrism is still existing among Western sinologists today and has to be fought. Still, the contemporary trends globalization, digitalization and travel freedom offer the current generation of sinologists so far unseen possibilities of international cooperation, promising extremely fruitful especially between distant cultures like China and the West. <br /> 但是，在当代西方汉学家中间仍然还存在民族中心主义，我们需要为此而抗争。随着全球化、数字化和“出境自由行”这三种当代趋向的出现，新一代汉学家获得了前所未见的国际合作可能，特别像是中西间如此大跨度的文化差异，其国际合作的前景和潜力更是无可估量。<br /> <br /> ==Li Yu 李玉==<br /> Key words<br /> Ethnocentrism, Exoticism, Universalism, Chinese Studies, German China Association, universal values, Gregor Paul, cooperation, China and the West<br /> <br /> 關鍵詞<br /> 宗族中心主義、異國主義、普遍主義、漢學/中國學、德中協會、普遍價值觀、Gregor Paul、合作、中國與西方<br /> <br /> When we define an academic category like “Chinese Studies”, we pay respect to the fact that the world historically has developed differently in different regions. <br /> <br /> ==Lin Min 林敏==<br /> Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads. Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. <br /> <br /> ==Lin Xin 林鑫==<br /> The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> 最古老的文字文明的证据，可以追溯到公元前3500年，我们在美索不达米亚平原这片新月状的沃土中找到了苏美尔人的粘土板。随后在古埃及，然后是印度，最后在中国也相继找到了证据。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:03, 20 November 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today. We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> 但是我们对历史探索得越多,就有更多有趣的证据证明，比起看似可能存在的思维迁移，这些看似独立的发展中地区存在更多的贸易关系和思想交流，从历史角度来看，我们并不只是重新发现和重新评估丝绸之路,也是作为一个政治议程来重建它。我们今天在美洲和亚洲发现了欧洲文明的早期证据，在美洲和欧洲也发现了中国文明的早期证据。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:23, 20 November 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> ==Liu Liu 刘柳==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> ==Liu Ou 刘欧==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character. <br /> <br /> ==Liu Yi 刘艺==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 第一次通过西方人对中国文化进行深入的分析，不是来自商人，而是来自耶稣会士。对中国的了解是多么的少，这可以从以下事实中看出，只有耶稣会士设法澄清了鞑靼和基泰/卡泰两个帝国的神话，事实上，这两个帝国都是同一个（中国）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:36, 20 November 2020 (UTC)<br /> <br /> 第一次对中国文学进行深入分析的西方人不是商人，而是耶稣会士。西方人对中国知之甚少可以从以下事实看出：只有耶稣会士成功地澄清了鞑靼和契丹这两个帝国的神话事实上是相同的（都属于中国）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:44, 20 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China. <br /> <br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] <br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> <br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. <br /> <br /> ==Lou Cancan 娄灿灿==<br /> Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> <br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor. <br /> <br /> ==Ma Juan 马娟==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. <br /> <br /> ==Ma Shuya 马淑雅==<br /> However, this phase did only last as long as it fit to European politics. As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> <br /> ==Ma Zhixing 马智星==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.<br /> <br /> ==Meng Ying 孟莹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> <br /> Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.<br /> <br /> ==Mo Ling 莫玲==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.).<br /> <br /> 错误百出的评论可以证明这一点（马礼逊：这本书没什么文采，但由于它是用北京方言所写，因而可以作为语言学习材料；居茨拉夫：主角宝玉真是一个爱耍小性子的女人；贾尔斯：“红楼梦没有在书中出现过”等等。）。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:17, 18 November 2020 (UTC)Mo Ling<br /> <br /> <br /> 书评中许多人对其的误解能证明这一点（马礼逊：这本书文笔拙劣，但由于是用北京话写的，因此可以用作语言学习材料;居茨拉夫：主角宝玉是一个被宠坏的女子; 贾尔斯：“红楼梦”一词没有在书中出现等）。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:47, 20 November 2020 (UTC)Ou Rong<br /> <br /> ==Mo Nan 莫南==<br /> Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels. <br /> <br /> ==Ou Rong 欧蓉==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “[dreams of the red chamber.” He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation.<br /> <br /> <br /> 1815年，澳门牧师罗伯特·莫里森（Robert Morrison，1782-1834年）在其《汉语词典》中将小说的标题称为“红楼梦”，从而创造了该小说的标题的西译本。[他解释道小说红楼梦中一个叫妙玉的女子就像是一块令人钦佩的宝石，参见罗伯特·莫里森：《汉语词典》三部分，澳门：东印度公司出版社1815年，第一卷p930，此处p614，左栏。印刷版出版24年后，这是第一次提及该小说，并将其标题翻译成迄今已知的西方语言。如果没有更早的发现，则意味着莫里森所创作的译本一直持续到今天几乎不变。]他选择了复数形式，这是相当合理的，因为小说中有许多梦想。似乎在27年后，复数的“梦”变成了单数的“梦”，听起来更笼统，因此也是一种合理的翻译。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:35, 20 November 2020 (UTC)Ou Rong<br /> <br /> 1815年，澳门牧师罗伯特·莫里森(1782-1834)在他的《汉语词典》中将《红楼梦》称作“dreams of the red chamber”，从而创造了小说的英文译名。他把《红楼梦》这本小说中一个女性人物的名字“妙玉”中的“妙”字解释为“令人艳羡的宝石”，（参见罗伯特·莫里森《汉语词典》，澳门：东印度公司出版社，1815年，第一卷第936页，此处第614页左栏)。在印刷版出版24年后，这是第一次提到并将标题翻译成西方语言。如果找不到比这还早的标题翻译，便意味着莫里森创造的翻译一直持续到今天都几乎发生没有改变。“梦”这个词的译文他选择了复数“dreams”，这是相当合理的，因为在小说中有许多梦。27年后，复数的“梦”（dreams)变成了单数的“梦”(dream)，这听起来有点笼统，但也是一个合理的翻译。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:35, 20 November 2020 (UTC)<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> ''Red Chamber Dreams'' is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “''Dreams of the Red Chamber''” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Morrison claims that ''Dream'' was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the ''Dreams'' is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 马礼逊称《红楼梦》是用北京方言写的，但他的说法并不属实，因为书的作者曹雪芹其实是南方人，书中很多角色有时候还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，也是作者有意而为之，这也是此作品之后享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年仍有人说《红楼梦》是用北京方言写成。]--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 11:07, 18 November 2020 (UTC)Ouyang Ling<br /> <br /> 马礼逊认为，《红楼梦》是用北京方言写的，但他的说法并不属实，《红楼梦》的作者曹雪芹其实是南方人，书中很多角色在某些场合甚至还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，这是作者有意而为之，也是《红楼梦》在后来享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年时，仍有人认为《红楼梦》是用北京方言写成。]--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:22, 19 November 2020 (UTC)<br /> <br /> 马礼逊声称《红楼梦》是用北京方言写成的。这一说法是不正确的，因为作者曹雪芹来自南方，小说中很多人说话都有南京方言的色彩。事实上，方言和社会用语的巧妙和有意的转换为这部小说后来的名声做出了贡献。马礼逊的错误持续了很长一段时间。[即使是在1995年，还有人说《红楼梦》是用北京方言写成的。]--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:29, 20 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this （导言）reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p.76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http:// www.rc.umd.edu/reference/qr/index/41.html, last visited Dec 5, 2010.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. <br /> <br /> ==Peng Juan 彭娟==<br /> For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. <br /> <br /> ==Peng Ruihong 彭锐宏==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> <br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> <br /> 实际上，这些描述中给出的图形比较对于当时的欧洲人来说简直是陌生的，因为它们显然不符合欧洲人自己的美感。<br /> <br /> 甚至在1842年，居茨拉夫（Gützlaff）都批评说：“作者[对]他无法对这个主题伸张正义，提出了许多抗议，这确实是书中唯一的道理。以说北方法院方言的方式，可以有利地细读这部作品” [“在中国小说中，这部作品绝对享有很高的地位。在多次抗议他无法公正对待这个主题之后，这确实是本书中唯一的真相[...]总结了这个乏味的故事，在表达我们对表演文学价值的看法后，我们可以说这种风格没有任何艺术意义，实际上是北部省份上层阶级的口头语言。有些词的用法与普通著作有所不同，而另一些词的用法则是为了表达省级声音。但是，读完一卷书后，这种感觉很容易理解，并且无论谁希望熟悉北部法院方言的表达方式，都可以从中受益。同上，p。273.]<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:49, 20 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below – <br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed.<br /> <br /> 1867年，即第一本中文印刷版出版78年之后，我们对梅辉立的两页进行了首次真正的深入回顾：[梅辉立，在：中日释疑（1867年12月31日）,第167-168页，此处第167页。梅辉立曾担任英国使馆驻北京的中国秘书。他还给出了一些翻译中的简要摘录：<br /> “天堂之上或地狱之下都很广阔–<br /> 叹息可能会限制过去的激情<br /> 为无知的青年，不幸的少女而悲伤！<br /> 最后，爱的誓言不是经常被兑现的！ ”（第167页）[…]<br /> 不会脾气柔和，方式温和，<br /> 公平为最公平…（第168页）<br /> […]<br /> 不常发光<br /> 你的渴望也是徒劳的！ ” (第168页)].]<br /> <br /> “如果公然宣称对任一中国作品充满热情的感觉是合法的，那么要对红楼梦或‘Dreams of the Red Chamber’的无端指摘表示真正的钦佩是不可能的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 13:37, 19 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; <br /> <br /> ==Qi Kai 漆凯==<br /> whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end.<br /> <br /> 同时，就像在自然界的生存戏剧中一样，风暴和阳光的反射紧密地交织在一起，喜剧的轻快线与故事的黑暗主线并排而行，故事的黑暗主线以悲伤的预兆开始，以泪洗面而终。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 12:35, 20 November 2020 (UTC)Qi Kai<br /> <br /> ==Qu Miao 瞿淼==<br /> If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> <br /> ==Quan Meixin 全美欣==<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture.<br /> <br /> ==Sagara Seydou ==<br /> This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s.<br /> 随着在欧洲和美国建立更多多元化的中文研究，在美国大学中扮演海外华人的角色，尤其是在1930年代通过Franz Kuhn进行的进一步翻译以及 1950年代的德国中国协会.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 03:12, 20 November 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> <br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China.<br /> <br /> <br /> 在其60年的历史中，德国中国协会(旁边是正在发展的大学中国研究中心，旁边是其他与中国打交道的组织，如友好协会和孔子学院)以多样性和宽容帮助克服偏见和文化相对主义。这尤其具有挑战性，因为两国文化和语言相当遥远，而德国媒体和互联网社区往往会抨击中国。<br /> 在过去的20年里,德国的中国协会在优秀的主席格雷戈尔保罗领导下建立,通过敏锐和精确的分析中国和西方的一个共同的逻辑，还有普世价值,包括值得一起追求的人权，他建立起了这个协会的声誉。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 04:17, 21 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before. Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> <br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like “A Harvard Literary History of Modern China”.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume ''History of Chinese Literature'' published in Bonn. <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god. This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让我们再次想起耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，尽管中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、演讲和绘画，把美好愿景和文献记载世代相传，而非源自与上帝的邂逅。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 13:20, 19 November 2020 (UTC)<br /> <br /> 其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让人联想到耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，而这个时候中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、言论和绘画，从美好愿景到记载事件、家族等，而非源自与上帝的邂逅。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 04:25, 21 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”. <br /> <br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> “We were wrong” – Coming to terms <br /> with failed master narratives of Chinese Studies<br /> “我们错了”——汉学应对主流叙事传统<br /> <br /> Martin Woesler 吴漠汀<br /> <br /> Abstract<br /> 摘要<br /> <br /> We, the international scholars of Chinese Studies, apologize for two main misinterpretations of China. 1. The master narrative of Jesuits and others who tried to proof the Western Christian god in ancient Chinese texts. As a tool, they used a distortion of the Chinese texts by manipulated translation. <br /> <br /> 我们是中国研究的国际学者，对中国的两个主要误解道歉。 1.耶稣会士和其他人在古代中国文本中试图证明西方基督教之神的主要叙事。作为一种工具，他们通过操纵翻译来歪曲中文文本。<br /> <br /> “我们错了”---学会接受错误的汉学主流叙述<br /> <br /> 吴漠汀<br /> <br /> 摘要<br /> <br /> 我们作为汉学的海外学者，要向中国道歉，因为我们在两个方面误读了中国。1. 耶稣会教士和其他人的主流叙事试图证明古代中国作品存在西方的基督教上帝。他们通过操纵翻译来歪解中国作品。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:36, 19 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> 2. The master narrative of the stagnation of China, sometimes claimed to be inherent and systemic, often reasoned with Confucianism. This narrative was a dogma for 150 years between 1830 and 1980. The disruptive economic development since 1978 has proven this narrative wrong, Confucianism is seen as one reason for the economic miracle. <br /> <br /> 2.关于中国停滞的主要叙述，有时被称为固有的和系统性的，常常用儒家思想来推理。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙事错误，儒家思想被视为经济奇迹的一个原因。<br /> <br /> 2.中国停滞的主要叙述有时是内在的、系统的，通常由儒家思想所论证。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙述是错误的，而儒家思想被视为经济奇迹的原因之一。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:31, 19 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 3. The master narrative of the Great Proletarian Cultural Revolution as a successful Communist reform. During the 1970s, Western sinologists abandoned basic principles of neutrality, distance and fact-seeking and, based on propaganda, enthusiastically celebrated the Cultural Revolution and became dedicated followers of Mao Zedong, holding up the Little Red Book.<br /> <br /> 无产阶级文化大革命的主要叙事是成功的共产主义改革。在20世纪70年代，西方汉学家放弃了中立，距离和事实寻求的基本原则，并在宣传的基础上，热烈地庆祝文化大革命，成为毛泽东的忠实粉丝，举起小红皮书。相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> 主述将无产阶级文化大革命（文革）描述为共产党的一场成功改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传的基础上，热衷于庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:40, 19 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> The readiness to believe in the Chinese propaganda was partly motivated by the wish to idealize China into a model which could show the way for a reform of Western societies.<br /> <br /> 相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> Key words<br /> <br /> 关键词<br /> <br /> Apology, errors, mistakes, manipulation, ethnocentrism, eurocentrism, master narratives, Chinese Studies, sinology, coming to terms with the past<br /> <br /> 道歉，错误，错误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1. God in China上帝在中国<br /> <br /> Human beings develop ancestor worship, complemented by natural religions. The natural religions established a layer of shamans who interpreted the will of the natural gods. <br /> <br /> 人类发展祖先崇拜，辅以自然宗教。自然宗教建立了一套解释自然神灵意志的法则。<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> In India, the layer of priests of the Vedan religion alienated from the people, because the religious texts of Vedan religion brought a conservating effect to language, texts were canonized and finally not understood by ordinary people any more. <br /> <br /> 在印度，Vedan宗教的神职人员与人民疏远，因为Vedan宗教的宗教文本对语言产生了保护作用，文本被册封，最后不再为普通人所理解。<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> Finally, only the Vedan priests could understand the Vedan texts any more. This was the start of the so-called “anti-religious” start of Buddishm.<br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是Buddishm所谓的“反宗教”起源的开始。<br /> <br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是佛教所谓的“反宗教”起源的开始。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:50, 20 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Due to the alienation of people and the religious texts and its priests, Buddha was able to establish Buddhism. He claimed that every individual was able to find his or her own way to self-perception and spiritual liberation (nirvana). <br /> <br /> 由于人与宗教文本及其祭司的异化，佛陀能够建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式（涅槃）。<br /> <br /> 由于人们和宗教文本及其祭司的异化，佛陀得以建立佛教。他宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:38, 20 November 2020 (UTC)<br /> <br /> 人们和宗教由于文本及其祭司发生了异化，佛陀得以建立佛教。佛陀宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:59, 20 November 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> <br /> Although Buddha did not abandon priests, he established the new tradition that masters would have their disciples and these could overcome their masters. Also, Buddha destroyed the perfectionism of the almighty god by claiming that the life of imperfect men simply was much more interesting. <br /> <br /> 虽然佛陀没有放弃传教者，但他建立了新的传统，即主人会有他们的门徒，这些人可以推翻他们的主人。此外，佛陀通过声称不完美男人的生活更加有趣，摧毁了全能神的完美主义。<br /> <br /> ==Wang Yuan 王源==<br /> <br /> In China, ancestor worship has kept its dominant role until today. Although there was the age of shamans, since several millenia every family clan had its own tradition of ancestor worship. It was believed that the ancestors in heaven watched over and influenced the lives of their descendants on earth. <br /> <br /> 在中国，祖先崇拜一直保持其主导地位，直到今天。虽然萨满有年龄，由于几千年来每个家族都有自己的祖先崇拜传统。据信，天上的祖先观看并影响了他们在地球上的后代的生活。<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> So the most important unit were family clans. Even rulers used fire cracks and characters inscribed in turtle shells or cattle bones to communicate with the ancestors and to predict the future. <br /> <br /> 所以最重要的单位是家族。甚至统治者也使用火龟纹和龟壳或牛骨上的字符来与祖先交流并预测未来。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> However, when the dynasty changed and a new ethnic group took over, they could not claim the ancestors to be their relatives any more, so the shangdi concept was replaced by heaven (tian) and related understandings like “son of heaven”, “mandate of heaven” etc., supllying them with legitimization of power. <br /> <br /> 然而，当王朝改变并且一个新的族群接管时，他们不能再宣称祖先是他们的亲戚，所以上帝的概念被天堂（天）和相关的理解所取代，如“天堂之子”，“任务”天国等等，用权力合法化来贬低他们。<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Although there were mythical divine creatures, the understanding of gods was not developed as distinct and authoritative as in Europe and Egypt. Egypt and Europe both further developed from multi theism to mono theism.<br /> <br /> 虽然有神话般的神圣生物，但对神的理解并没有像欧洲和埃及那样发展出独特和权威。埃及和欧洲都从多神论到单一神论进一步发展。<br /> <br /> 虽然有神话中的神创物，但对神的理解并没有像在欧洲和埃及那样发展得独特而权威。埃及和欧洲都从多神论进一步发展到一神论。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:21, 21 November 2020 (UTC)<br /> ----<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Theism established a layer of priests, occupying the role of mediators between god and men. Since every uncontrolled authority abuses its power, these mediators gained earthly wealth and took advantage of their control over people by abuse of their work force and even sexual abuse. <br /> <br /> 有神论建立了一套祭祀法则，成为了神与人之间调解者的角色。由于每个不受控制的权威都滥用权力，这些调解人获得了人间的财富，并利用他们对工作人员的滥用甚至性虐待来控制他们。<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> In Europe, the power was divided among the rulers and the church, represented by the pope, the cardinals, the bishops and the priests. <br /> <br /> 在欧洲，权力在统治者和教会之间分配，由教皇，红衣主教，主教和神父代表。<br /> <br /> 在欧洲，权力被统治者和以教皇、红衣主教、主教和神父为代表的教会所控制，并且被分享、分配。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:21, 21 November 2020 (UTC)<br /> <br /> 在欧洲，由统治者和以教皇，红衣主教，主教和神父为代表的教会掌控分配权力。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:55, 21 November 2020 (UTC)<br /> <br /> 在欧洲，统治者和以教皇，红衣主教，主教和神父为代表的教会分配权力。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 04:02, 21 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> Since religion in general claims to be valid for all of menkind, when new territories were discovered in East Asia and Africa, the missionaries tried to enlarge the territorium under their control by forcing locals to accept European religions and societal development models like modernization and economical development. <br /> <br /> 由于宗教一般声称对所有人都有效，当在东亚和非洲发现新的领土时，传教士试图通过迫使当地人接受欧洲宗教和现代化和经济发展等社会发展模式，来扩大其控制下的领土。<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> After the first missionaries arrived in China and saw that the exchange was positive for both sides, they also developed a motivation to keep the missionaries alive, which was a second motivation for them. <br /> <br /> 在第一批传教士抵达中国，并看到双方的交流是积极的之后，他们也发展了一种让传教士活动的动力，这是他们的第二个动机。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 07:47, 20 November 2020 (UTC)<br /> <br /> 在第一批传教士抵达中国后，并看到这种交流对双方来说都是积极的，他们也就产生了另一个动力，让传教士们积极活动。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:11, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Since the Christian religion is a religion revealed in divine texts, the missionaries had a strong motivation to find evidence in the classical Chinese texts that the Christian god also existed there. So among the first texts, they selected, translated and sorted were the canonized texts. A good example is the Daodejing which they translated in a distorted way, allowing them to proof the existence of the Christian god in China.<br /> <br /> 由于基督教是一种神圣文本中所揭示的宗教，传教士有强烈的动机在中国古典文本中找到证据，证明基督教的神也存在于那里。 因此，在第一批文本中，他们选择、翻译和排序的是册封文本。一个很好的例子就是《道德经》，他们以扭曲的方式翻译，使他们能够证明中国基督教神的存在。<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> This was the first major mistake, the attitude of Europeans to find evidence of their European god in Chinese roots. This attidtude lead to translation practises abandoning the basic rules of the profession: <br /> <br /> 这是第一个重大错误，即欧洲人在中国人根源中找到欧洲神的证据的态度。这种原因导致翻译实践放弃了专业的基本规则：<br /> <br /> 这是第一个重大错误，即欧洲人想寻找证据，证明自己的欧洲神明存在于中国人根源之中的这种态度。这种态度导致其在翻译实践中放弃专业的基本规则：--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:14, 21 November 2020 (UTC)<br /> <br /> 这是第一个重大错误，即欧洲人试图在中国根源中找到欧洲神的证据的态度。这种态度导致翻译实践放弃了专业的基本规则：--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:24, 21 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Terms, concepts and ideas sounding familiar were forcibly changed into the original European meaning. However, the published translations did only show a slight influence of this practise, the main translations, e.g. of the Daodejing first were not published, but discussed internally. <br /> <br /> 熟悉的术语、概念和想法被强制改变，具有原欧洲意义。但是，已发表的翻译并没有受太大影响，主要翻译，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 03:25, 19 November 2020 (UTC)Wu Zijia<br /> <br /> 为人熟知的术语、概念和想法被强制改变为原欧洲意义。然而，已发表的翻译作品仅受到了轻微影响。但主要的翻译作品，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:35, 20 November 2020 (UTC)<br /> <br /> 为人所熟知的术语、概念和思想，被迫改为原来的欧洲含义。然而，已发表的翻译只是受到了这种做法的轻微影响，但主要的翻译作品，如《道德经》最初没有出版，而是进行内部讨论。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:07, 20 November 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> The outcome of the discussion was that the deviations in the translations would have to go too far and ultimately that there was no proof of the Christian god in ancient Chinese texts. <br /> <br /> 讨论的结果是，翻译中的偏差必须走得太远，最终在中国古代文本中没有基督教之神的证据。<br /> <br /> 讨论的结果是，译本的偏差会太大，最终导致在古代中国文本中没有基督教上帝存在的证据。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:21, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Nonetheless, since then several missionaries, priests (Richard Wilhelm) and sinologists (Wolfgang Kubin) still tend to translate the Chinese concept of “heaven” into concepts familiar to Europeans like “god”. <br /> <br /> 尽管如此，从那时起，几位传教士，牧师（理查德威廉）和汉学家（顾彬）仍然倾向于将中国的“天堂”概念翻译成欧洲人熟悉的概念，如“上帝”。<br /> <br /> <br /> <br /> 尽管如此，从那时起，一些传教士、牧师(理查德·威廉)和汉学家(沃尔夫冈·库宾)仍然倾向于把中国的“天堂”概念翻译成欧洲人熟悉的概念，比如“上帝”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:26, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> This is wrong and we as sinologists, apologize to the Chinese citizens for this eurocentric approach. We hope to overcome this historical mistake by cooperation with our Chinese colleagues.<br /> <br /> 这是错误的，我们作为汉学家，为这种以欧洲为中心的方法向中国公民道歉。我们希望通过与中国同事的合作修正这一历史错误。<br /> <br /> 这是错误的，并且作为汉学家，我们为这种以欧洲为中心的做法向中国公民道歉。我们希望通过与中国同事的合作来纠正这一历史错误。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 06:29, 20 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> All institutionalization develops inertia, the Chinese society was very instituionalized, therefore the Christianization in general failed. However, he secondary aims of the missions, to bring the European understanding of societal development (development of economy, health, education bringing about progress and modernization) were a success.<br /> <br /> 所有制度化都发展了惯性，中国社会非常机构化，因此基督教化总体上失败了。 然而，他的使命的次要目标，使欧洲对社会发展的理解（经济、健康、教育带来进步和现代化）的成功是成功的。<br /> <br /> <br /> 一切制度化都滋长了惰性，中国社会非常制度化，因此基督教化总体上失败了。然而，他的任务的第二个目标是，使欧洲人了解社会发展（经济、卫生、教育的发展带来进步和现代化），这个目标成功了。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:42, 20 November 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> The missionaries translated European books of knowledge into Chinese and therefore practically performed a knowledge transfer. Also the learning of foreign languages enhanced.<br /> <br /> 传教士将欧洲知识书籍翻译成中文，实际上不仅传递了知识，也提高了他们外语学习的能力。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:27, 20 November 2020 (UTC)<br /> <br /> 传教士将欧洲的知识书籍译成了中文，从而将知识的传递落到了实处。人们的外语学习能力也得到了提高。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:53, 21 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> During history, the authoritarian rule was replaced by democracies. In China, this was the case with the establishment of the Republic of China in 1912. During history, the power of the church was also restrained with protestant reformism.<br /> <br /> 在历史上，专制统治被民主取代。 在中国，1912年中华民国成立就是这种情况。在历史上，教会的权力也受到新教改良主义的制约。<br /> <br /> 在历史上，专制统治被民主制所取代。 在中国，1912年中华民国成立就是这种情况。在历史上，新教改革派也限制了教会的权力。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 04:23, 21 November 2020 (UTC)<br /> <br /> 在历史上，独裁统治被民主政体所取代。而在中国，中华民国于1912年成立就是这样的事件。历史上，教会的权力也受到新教改革主义的制约。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:27, 21 November 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Religions are more or less tolerant regarding people believing in different religions or regarding atheists. Islam in average is less tolerant the Christianity. <br /> <br /> 宗教对于相信不同宗教或无神论者的人或多或少都是宽容的。平均而言，伊斯兰教对基督教的宽容度较低。<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Since two millenia, Europe has been dominated by Christianity and China mostly by ancestor worship, with a huge tolerance towards Buddhism, Daoism and other forms of religious practises. <br /> <br /> 自两千年以来，欧洲一直由基督教和中国主导，主要是祖先崇拜，对佛教、道教和其他形式的宗教活动有着巨大的容忍。<br /> <br /> ==Xu Jing 许静==<br /> <br /> 2. Stagnant China停滞的中国<br /> <br /> Times when international China watchers (scholars, philosophers) and China experts (merchants, missionaries, members of delegations, scholars) idealized China (Chinoiserie) and when they demonized her (stagnation, Yellow peril) followed each other. <br /> <br /> 国际中国观察家（学者、哲学家）和中国专家（商人、传教士、代表团成员、学者）理想化中国（中国风）以及妖魔化她（停滞、黄祸）的时代相互依存。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Western Sinology has long declared the &quot;stagnation&quot; in China as being “without an alternative” and as “being caused by Confucianism”. However, China showed a disruptive economical development since 1978, which proves this narrative wrong. Now also the Chinese &quot;economic miracle&quot; is explained by the Western sinologists with Confucianism. <br /> <br /> 西方汉学早就宣称中国的“停滞”是“没有其他选择”和“由儒学引起的”。 然而，自1978年以来，中国显示出飞速的经济发展，证明这种说法是错误的。 现在中国的“经济奇迹”也被西方汉学家用儒学解释了。<br /> <br /> 西方汉学早就宣称中国的“停滞”是“无法避免的”，“由儒学造成的”。然而，从1978年来，中国的经济出现了颠覆性的发展，证明这种说法是错误的。现在，西方汉学家又用儒学去解释中国的“经济奇迹”。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:00, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> Now is the time for Western Sinology to admit its historical mistake and to overcome the eurocentric and racist dogma of “stagnation” by diversification. The exchange with Chinese colleagues like here at the congress offers a good opportunity to do so.<br /> <br /> 现在是西方汉学承认其历史错误、克服多元化“停滞”的欧洲中心和种族主义教条的时候了。在这里与大会上的中国同事交流提供了一个很好的机会。<br /> <br /> <br /> 现在，西方汉学应当承认自己的历史错误，并通过多样化来克服“停滞”的欧洲中心主义和种族主义教条。本次大会上与中国同事的交流为此提供了一个很好的机会。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 04:53, 20 November 2020 (UTC)Xu Pengfei<br /> <br /> 现在是西方汉学承认历史错误，通过多元化克服“停滞”的欧洲中心主义和种族主义教条的时候了。本次大会上与中国同事的交流提供了一个很好的机会。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:45, 20 November 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> With the overall turn from admiring China to demonizing China, also Hegel started to judge on China as a “stagnant” empire. <br /> <br /> 随着从钦佩中国到妖魔化中国的整体转变，黑格尔也开始判断中国是一个“停滞不前”的帝国。<br /> <br /> 从钦佩中国到妖魔化中国，黑格尔也开始认为中国是一个“停滞不前”的帝国。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:22, 20 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Although he found evidence that Confucius had invented the Golden Rule, he described China as the lowest stage of a stairways to the world Geist# with Berlin at the top. His condemnation of China was taken over by Marx who condemned China too. <br /> <br /> 尽管他发现了孔子发明黄金法则的证据，但他将中国描述为通往世界精神阶梯的最低阶段，而柏林位居榜首。他对中国的谴责也被谴责中国的马克思所接管。<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> There were several narratives establishing a Great Divergence or arguing for little divergences during the early stage of globalization. However, new rediscoveries of ancient Chinese translations of Western books of knowledge and new statistics of sugar consumption (which was for the most time higher in China than in Europe) question these narratives today.<br /> <br /> 在全球化的早期阶段，有几种叙述形成了一种大分歧或争论很少的分歧。 然而，中国古代西方知识翻译的新发现以及食糖消费的新统计数据（这在中国的时间比欧洲最高）在今天质疑这些叙述。<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''3. Western Sinologists as Red Guard作为红卫兵的西方汉学家'''<br /> <br /> Whenever science and scholarship serves an ideology or a religion, it gives up its objectivity and it betrays the fundamental principles of science and scholarship, e.g. the principle that you conduct research independantly without any predestined results and that you accept the results whatever they are.<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 你独立进行研究而没有任何预定结果的原则，你接受的结果无论它们是什么。<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 在你独立进行研究时，你可能会想要一个预定好的结果。你可能不太愿意接受不想要的答案。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:22, 20 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Sinologists and scholars of Chinese Studies are scholars who deal with the subject of China. To keep the distance, it is good that they are able to freely travel to and out of China in order to be able to change perspectives and to keep the distance.<br /> <br /> 中国研究的汉学家和学者是处理中国主题的学者。为了保持距离，他们能够自由地进出中国以便能够改变视角并保持距离。<br /> <br /> 汉学家和中国研究学者都是研究中国主题的学者。为了区分不同，他们能够自由进出中国，以便能够改变视角去研究不同方面，这是非常好的方法。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:44, 20 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> There was a time at the end of the 1960s, when the Western capitalism and establishment was challenged, initi-ated by images from the Vietnam war, dismantling the cruelty of war, where American soldiers used unfair tech-niques like chemical weapons against civilians in Vietnam. The photo of the naked children, scared to death from the napalm air strikes and running away in panic, changed the attitude of the people in the USA and in Europe against the institutionalized form of capitalism. Suddenly, the people, who were assured to be the “good ones” asked instead if they were the “bad ones” and had to change their systems towards peaceful coexistence. <br /> <br /> 20世纪60年代末，西方资本主义的形成和建立受到挑战，受到越南战争的影响。资本主义使战争看上去不那么残酷，美国士兵在越南对平民使用化学武器等不公平技术。看到裸体儿童的照片，看到他们在凝固汽油弹袭击中惊恐万分的模样，惊慌而逃的身影，改变了美国和欧洲人民对制度化资本主义的态度。 突然之间，那些发誓要成为“好人”的人们反而会质疑自己是否是“坏蛋”，并且不得不改变他们自己的方式以实现和平共处。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:13, 20 November 2020 (UTC)<br /> <br /> 20世纪60年代末，西方资本主义和建立受到越南战争的影响，摧毁了战争的残酷，美国士兵在越南对平民使用化学武器等不公平技术。 裸体儿童的照片，在凝固汽油弹袭击中惊恐万分，在恐慌中逃跑，改变了美国和欧洲人民对制度化资本主义形式的态度。 突然之间，那些被保证成为“好人”的人们反而要求他们是“坏人”，并且不得不改变他们的制度以实现和平共处。<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Western sinologist in the whole world were too ready to believe the propaganda of a successful “Great Proletari-an Cultural Revolution”. In 1961 Defense Minister Lin Biao instructed the army journal ''People’s Liberation Army Daily'' to print one saying of Mao each day. Sorted thematically, the first collection of these sayings was published in 1964. The little red book with sayings by Mao Zedong was printed more than 740 million times in China to supply every citizen with a copy. During its peak of popularity 1966-1971, it was the most printed book, it was printed in more than 30 languages more than a billion times. <br /> <br /> 全世界的西方汉学家都准备好相信成功的“无产阶级文化大革命”的宣传。 1961年，国防部长林彪指示军民报“人民解放军报”每天打印一篇毛泽东的语录。 按主题排序，这些说法的第一个集合于1964年出版。毛泽东的红宝书在中国印刷了7.4亿多次，为每个公民提供了一份副本。 在1966年至1971年的人气高峰期间，它是印刷最多的书，以超过30种语言印刷超过十亿次。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> 全世界的西方汉学家都不敢相信“伟大的无产阶级文化大革命”的宣传竟如此成功。1961年，国防部长林彪指示军队日报《人民解放军日报》每天刊登一篇毛泽东语录。按主题分类，这些语录的第一本合集于1964年出版。《毛泽东语录红皮书》在中国印刷了7.4亿多册，几乎人手一本。在1966至1971年间，该书的印刷量达到顶峰，被翻译成30多种语言，印刷超过10亿次。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:46, 20 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Jean-Luc Godard released his film “La Chinoise” in August 1967, displaying a youthful Parisian Maoist sect. This lead to a popularity of this ideology among Western experts of Chinese Studies.<br /> <br /> Jean-Luc Godard于1967年8月发行了他的电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。这导致了这种意识形态在西方中国研究专家中的流行。<br /> <br /> 让-吕克·戈达尔（Jean-Luc Godard）于1967年8月发行了电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。随后，此意识形态在西方中国研究专家中流行。--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 06:31, 20 November 2020 (UTC) Zhang Weihong<br /> <br /> 1967年8月，让-吕克·戈达尔（Jean-Luc Godard）发布了其电影《中国姑娘》，电影中展示了一个年轻的巴黎毛派教派。随后，此意识形态在那些做中国研究的西方专家中流行开来。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:45, 21 November 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Recently, Cambridge University Press published a collection of memories of how Western sinologists and young intellectuals have received and embraced Maoism in the 1960s and 1970s. <br /> <br /> 最近，剑桥大学出版社出版了一系列关于西方汉学家和年轻知识分子如何在20世纪60年代和70年代接受和信奉毛泽东思想的回忆。<br /> <br /> 最近，剑桥大学出版社出版了一系列回忆录，里面记录了西方汉学家和年轻知识分子如何在20世纪60年代和70年代就已接收并信奉毛泽东思想。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:19, 21 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> John Gray in a book review has summarized main points of the book. I mostly follow his summary here. He de-scribes how French thinkers received this film:<br /> <br /> 约翰格雷在书评中总结了本书的要点。 我在此将列出他主要的总结。他描述了法国思想家如何评价这部电影：<br /> <br /> <br /> 约翰格雷在书评中总结了这本书的要点。 我将在此列出他主要的总结。他描述了法国思想家如何评价这部电影：--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:21, 20 November 2020 (UTC)<br /> <br /> 约翰·格雷在书评中总结了他这本书的主要观点。在这里，我主要是跟随着他的总结。他描述了法国的思想者是如何接受这部电影的：--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:25, 20 November 2020 (UTC)Yang Chenting<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> [Julian] Bourg: “Mao’s language of violence had a certain rhetorical appeal.” In fact, it was his combination of rhetorical violence with sub-Hegelian dialectical logic that proved so irresistible to sections of the French intelligentsia. Eulogising Mao’s distinction between principal and secondary contradictions, Louis Althusser deployed Maoist categories as part of an extremely abstract and, indeed, largely meaningless defence of “the relative autonomy of theory”. <br /> <br /> [Julian] Bourg：“毛泽东的暴力语言具有一定的修辞吸引力。”事实上，正是他将修辞暴力与次黑格尔辩证逻辑相结合，证明了法国知识分子的各个部分是如此不可抗拒。 颂扬毛泽东对主要和次要矛盾的区分，路易斯·阿尔都塞将毛派分类作为极其抽象的，实际上在很大程度上毫无意义地保护“理论的相对自治”的一部分。<br /> <br /> <br /> [Julian] Bourg:“毛泽东暴力语言具有一定的修辞吸引力。”事实上，正是他的修辞暴力与亚黑格尔的辩证逻辑相结合，对法国知识分子的各个部分来说是如此难以抗拒。 颂扬毛泽东对主要和次要矛盾的区分,路易·阿尔都塞将毛泽东主义者分类作为极其抽象的,实际上是对“理论相对自治”的毫无意义的辩护的一部分。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:46, 20 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Althusser’s student Alain Badiou (for many years professor of philosophy at the École Normale Supérieure) continued to defend Maoism long after the scale of its casualties had become undeniable. As recently as 2008, while commending himself for being “now one of Maoism’s few noteworthy representatives”, Badiou praised Mao’s thought as “a new politics of the negation of the negation”. From one point of view, this stance is merely contemptible – a professorial pirouette around a vast pile of corpses. But one must bear in mind the fathomless frivolity of some on the French left. Already in 1980, two former Maoist mili-tants had announced their rejection of the creed in the language of fashion: “China was in . . . Now it is out . . . we are no longer Maoists.” Against this background, Badiou’s persistence is almost heroically ab-surd. <br /> <br /> 阿尔都塞的学生Alain Badiou（多年来在巴黎高等师范学院的哲学教授）在其伤亡人数不可否认之后很久就继续捍卫毛派。 就在2008年，尽管称赞自己是“现在是毛派少数几个值得注意的代表之一”，但巴迪欧称赞毛泽东的思想是“否定否定的新政治”。 从一个角度来看，这种立场仅仅是可鄙的 - 围绕着一大堆尸体的教授旋转。 但是人们必须牢记法国左翼一些人的无聊轻浮。 早在1980年，两位前毛泽东武装分子就已经宣布以时尚语言拒绝信条：“中国是在中国。。。 现在它出来了。。。 我们不再是毛泽东思想者。”在这种背景下，巴迪欧的坚持几乎是荒谬的荒谬。<br /> <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> Dominique Kirchner Reill has documented, that Maoist influence in Italy and Yugoslavia was even wider: <br /> <br /> Dominique Kirchner Reill证明，毛派在意大利和南斯拉夫的影响甚至更广：<br /> <br /> “In Italy Mao-mania was not purely a left-wing phenomenon. Some ultra-right groups quoted their Little Red Books to justify their arguments.” In 1968-73 the neo-fascist party Lotto di Popolo (“the people’s fight”) lauded Mao as an exemplary nationalist and resolute opponent of US global hegemony. <br /> <br /> “在意大利，毛派狂热者不仅仅是一种左翼现象。 一些极权团体引用他们的红宝书为他们的论点辩护。“1968-1973年，新法西斯政党Lotto di Popolo（”人民的斗争“）称赞毛泽东是美国全球霸权的模范民族主义者和坚决反对者。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In a footnote he observes <br /> 在他的脚注中，他注意到：<br /> <br /> “Nazi-Maoist movement in Italy included many other figures and groups” besides the Lotto di Popolo. <br /> <br /> 除了Lotto di Popolo之外，“意大利的纳粹毛派运动包括许多其他人物和团体”。<br /> <br /> Gray beklagt#: “It is a pity this aspect of Mao’s influence is not explored in greater detail.” One of the reasons may be that the generation of Maoist sinologists later were the ones to document their own history, the history of sinologists, but they never came to terms with it, very much like the 1960s activists with sympathy for the German “Red Army Fraction”, who later became part of the establishment, even ministers in the government, and did not want to be reminded of their past.<br /> <br /> 灰色beklagt＃：“遗憾的是，毛泽东影响力的这一方面没有得到更详细的探讨。”其中一个原因可能是后来毛派汉族的一代人要记录他们自己的历史，也就是汉学家的历史，但是 他们从来没有接受过它，非常像20世纪60年代积极分子同情德国“红军分数”，后来成为该组织的一部分，甚至是政府的部长，并且不想被提醒他们的过去。<br /> <br /> 在他的脚注中，他表示，参与者除了Lotto di Popolo外，“意大利纳粹毛派运动还包括许多其他人物和团体”。<br /> Gray beklagt#表示：“遗憾的是，在这个层面，毛泽东的影响未得到更细致的探讨。”其中一个原因可能是，后来的毛泽东思想汉学家只记载他们自己的历史，即汉学家的历史。他们从不接受毛泽东思想，这就很像二十世纪六十年代的积极分子同情德国“红军纵队”。该纵队的人后来成为该组织的一部分，有的甚至还成了政府机关部长。这些汉学家不想回忆起自己的历史。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:18, 20 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Gray writes in his book review: 格雷在他的书评中写道：<br /> <br /> “In a programmatic introductory essay Alexander C Cook compares the Chinese leader’s book to a “spir-itual atom bomb” and considers its global fallout. Showing how it reflects the influence of the choral sing-ing introduced into China by 19th-century Christian missionaries, Andrew F Jones provides an illuminating account of the rise of the Maoist pop song. Taking as her starting point the global distribution of the Little Red Book to over a hundred countries in the eight months between October 1966 and May 1967, Xu Lanjun examines the process of translation in the context of Maoist ideas of global revolution. Quinn Slo-bodian discusses the impact the book had in eastern and western Germany. In the concluding essay, Ban Wang considers the Little Red Book and “religion as politics” in China. Elsewhere, its influence in Tanzania, India, Peru, Albania and the former Soviet Union is discussed.”<br /> <br /> “在一篇程序化的介绍性文章中，亚历山大·库克将中国领导人的书与“精神原子弹”进行了比较，并考虑了它的全球影响。 安德鲁·F·琼斯（Andrew F Jones）展示了它如何反映19世纪基督教传教士引入中国的合唱歌曲的影响，为毛泽东主义流行歌曲的兴起提供了一个有启发性的说明。 在1966年10月至1967年5月的八个月中，徐兰军以红宝书的全球分布为一百多个国家，在毛泽东的全球革命思想背景下考察了翻译的过程。 Quinn Slobodian讨论了该书在德国东部和西部的影响。 在最后的文章中，王班并认为红宝书和中国的“宗教为政治”。在其他地方，讨论了它在坦桑尼亚、印度、秘鲁、阿尔巴尼亚和前苏联的影响。”<br /> <br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> “In West Germany in the late 1960s, the Little Red Book “resembled simultaneously an accessory of the classical workers’ movement and a modish commodity of the educated elite”. In theatres, across from the refreshments, there were glass cases “full of pretty red Mao bibles (two Deutsche Marks each)”. As an anti-consumerist commodity, the book became “a marker of social distinction within a commercial market”.”<br /> <br /> “在20世纪60年代后期的西德，红宝书”同时也是古典工人运动的一部分，也是受过教育的精英的一种时尚商品”。 在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。 作为一种反消费主义商品，这本书成为“商业市场中社会区别的标志”。”<br /> <br /> “在20世纪60年代后期的西德，（毛泽东的）红宝书“是古典工人运动的读物，同时也是教育良好的精英阶层中的畅销书。”在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。作为一种反消费主义的商品，这本书成为了“商业市场中社会差异的标志”。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> “Condemned as distorting Mao’s ideas and exerting a “widespread and pernicious influence”, the book was withdrawn from circulation in February 1979 and a hundred million copies pulped.”<br /> “这部书被谴责为歪曲毛泽东的思想并发挥“广泛而有害的影响”，于1979年2月撤销流通，并且有数亿份纸张被废弃。”<br /> <br /> “这本书受到了人们的谴责，认为书中歪曲了毛泽东的思想，并带来“广泛而有害的影响”，因此，该书于1979年2月停止发行，数亿份书籍被废弃。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> The popularity of the Chinese system in the West was at the peak when it had the most victims.<br /> <br /> 中国体制在西方的受欢迎程度因其最多的受害者而达到了峰值。<br /> <br /> 当受害者人数最多时中国制度在西方的受欢迎程度达到顶峰。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> Today, even in China, the Cultural Revolution is evaluated as “10 Years of Chaos”. Mao Zedong’s approach to mobilize the masses in endless revolutions turned out to be a historical failure. <br /> <br /> 今天，即使在中国，文化大革命也被评为“十年动乱”。 毛泽东在无休止的革命中动员群众的方法被证明是历史性的失败。<br /> <br /> 今天，即使在中国，文化大革命也称为“十年动乱”。毛泽东发动群众进行无休止革命的做法被证明是历史性的失败。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> However, domestic Science and Scholarship today once more receives incentives to pretend an ideological use-fulness of their research results when applying for funds to conduct research projects. However, an independant science and scholarship serves any government best, because a government needs real and true research results, not sugar coated ones.<br /> <br /> 然而，今天的国内科学和奖学金再次获得激励，在申请资金进行研究项目时，假装其研究成果具有意识形态的有用性。 然而，独立的科学和奖学金最适合任何政府，因为政府需要真实和真实的研究结果，而不是糖衣。<br /> <br /> 然而，如今国内学科及奖学金再次受到鼓励，要求在申请项目研究资金时伪称其研究结果具有意识形态有用性。但由于政府需要真实准确的研究结果，而非华而不实的研究结果，一项独立的学科及奖学金对任何政府都是绝佳选择。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:59, 21 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Freedom is always the freedom within the limits not to restrict the freedom of others. But this historical event posed a new question: When is it time to kill a massmurderer? If communism threatens to enslave a whole population with millions of death victims – how far is it justified to intervene or not to intervene? But when it is not just a mass murderer, but a whole group of people mislead by a leader, a whole administration of a country, how can you clearly differentiate between good and evil? Reality often consists out of different levels of grey.<br /> <br /> 自由永远是限制的自由，而不是限制他人的自由。但这一历史事件提出了一个新问题：什么时候杀死一名群众？ 如果共产主义威胁到全世界数百万死亡受害者的奴役 - 干预或不干预到底有多大理由？ 但是，当它不仅仅是一个大规模杀人犯，而且还是一群人误导领导者，一个国家的整个政府时，你怎么能清楚地区分善恶呢？ 现实通常由不同级别的灰色组成。<br /> <br /> 自由永远是在不限制他人自由的范围内的自由。但是这一历史性事件向我们提出了一个新的问题：什么时候应该杀死一个杀人凶手？如果共产主义威胁要奴役数以百万计的死亡受害者，那么进行干预或不进行干预的合理性有多大差别？但是，当它不仅是一个大规模杀人犯，而且是一群人被一个领导人，一个国家的整个政府误导时，该如何清楚地区分善与恶？现实通常是由不同层次的灰色组成的。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:28, 20 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> 湖南师范大学洪堡跨学科研究中心<br /> <br /> Humboldt Center for Transdisciplinary Studies at Hunan Normal University<br /> <br /> 揭牌仪式<br /> <br /> Launch Ceremony<br /> <br /> 2020年9月14日<br /> <br /> September 14, 2020<br /> <br /> I congratulate the Humboldt Center for Transdisciplinary Studies 洪堡跨学科研究中心 for its opening at Hunan Normal University and especially my German colleague and Humboldt expert Professor Ottmar Ette奥特玛·埃特教授 for his dedication to realize the Center. Ette is one of the leading experts about Humboldt, in 2014-2017 he was responsible for the part “Genealogy, Chronology, Epistemology” of the BMBF research project about Humboldt in the United States.<br /> <br /> 祝贺湖南师范大学洪堡跨学科研究中心成立，尤其感谢我的德国同事、洪堡专家奥特玛·埃特教授为中心的建成所做的贡献。埃特教授是研究洪堡的主要专家之一，2014-2017年，他负责美国BMBF关于洪堡研究项目中“系谱、年代学、认识论”的部分。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 03:56, 21 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> The Center has the best starting conditions: It is backed by the University Potsdam and the Berlin-Brandenburg Academy of Sciences and Humanities 柏林-勃兰登堡科学与人文学院, which spon-sors a 18 year long research project until 2033 “Science on the Move” about Humboldt, lead by Prof. Ette.<br /> <br /> 该中心拥有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持的，该基金会资助了一项由埃特（Ette）教授领导，历时18年，一直进行到2033年，即关于洪堡“移动中的科学”的研究。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 13:54, 20 November 2020 (UTC)<br /> <br /> 该中心具有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院提供支持，该基金会赞助了直到2033年一项长达18年的研究项目，即“洪堡运动科学”，由埃特教授领导。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> 该中心具备最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持。直到2033年，该基金会一直赞助这一历时18年的研究项目，即埃特教授领导的“洪堡运动科学”研究。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:48, 21 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> The Center could not have found a better Chinese partner: This new Center is opened at a Hum-boldian University, with a long tradition in transdisciplinary research and teaching, with chancel-lor Professor Jiang Hongxin 湖南师范大学党委书记蒋洪新教授, who is not only an internation-ally renowned scholar in English literature, but also the driving factor behind the internationaliza-tion and opening up of Hunan Normal University.<br /> <br /> 洪堡跨学科交流中心找到了最佳的中国合作伙伴——湖南师范大学。该中心设立在洪堡大学，洪堡大学在跨学科研究和教学领域有着悠久的历史。湖南师范大学党委书记蒋洪新教授不仅是国际知名的英语文学学者，也是湖南师范大学国际化、对外开放的带头人。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:29, 20 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> The success of Hunan Normal University is displayed in the rising position in the university rank-ings, in the number of study programs ranking top nationwide, in the growing community of in-ternational experts working at Hunan Normal University, in international cooperations, joint school projects etc. Also the staff working at the Center are ideally chosen, Ren Haiyan 中心副主任任海燕博士, who is familiar with English literature of the 18th century, Fan Ni, who is currently building up the German Department as well as Li Yaqin.<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> <br /> Changsha is both the place of one of the earliest universities in China, founded in 976 CE, the Yuelu Academy 岳麓书院, and together with its attached High School, Hunan Normal University and its Foreign Studies College founded by Qian Zhongshu is famous for its history of educating leaders with a thinking outside of the box. Similarly, Humboldt has said: “How a person masters his fate is more important than what his fate is.” This is just what Humboldt fought for. Humboldt is famous not just in Germany and Europe, but also in the United States, Russia, Asia and world-wide. He shaped our understanding of universities, research, teaching and education. Today, it is safe to say that the German universities are Humboldian universities, also European ones, Ameri-can ones and certainly also Hunan Normal University.<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> When Humboldt traveled Central Asia and wrote about China, he certainly never would have dreamed of the realization of such a Center to his honor in Changsha. However, he would have been overwhelmed and would see his dreams realized here. With this Research Center it is now possible to explore the relation of Humboldt and China in great detail. Moreover, the relation between China and Europe can be explored here from a transdisciplinary perspective. Coopera-tion is key. With Humboldt’s words: “Collaboration operates through a process in which the suc-cessful intellectual achievements of one person arouse the intellectual passions and enthusiasms of others.”<br /> <br /> 当洪堡游历中亚，写到中国时，肯定做梦也想不到长沙会是实现他梦想中荣耀的地方。但那样的话，他虽会看到自己实现梦想，也会不堪重负。现在有了这一研究中心，我们可以更详细地探讨洪堡与中国的关系。而且，可以从跨学科的角度来探讨中欧的关系。其关键是合作。正如洪堡所说:“合作是是通过一个人的智慧成就激发其他人的智力激情和热情来实现的”<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> As Jean Monnet Chair of Hunan Normal University 欧盟“让•莫内讲席教授” and as the direc-tor of the International Chinese Studies Center at Foreign Studies Center I reach out with both hands to the new Center and offer to bring in European and Chinese networks, to start immediate and concrete joint research. <br /> <br /> I close with a final quote from Humboldt: “The most dangerous worldview is the worldview of those who have not viewed the world.” Therefore, the Center now allows scholars from other places in the world to see China and offers Chinese colleagues a bridge to Europe and interna-tional scholarship.<br /> <br /> And I wish the Humboldt Center for Transdisciplinary Studies great success!<br /> <br /> 作为湖南师范大学欧盟“让•莫内讲席教授”以及外国研究中心国际汉语研究中心主任的让·莫内主席，我两手准备着新的中心，并提议向欧洲和中国引进网络，以开始目前的具体的联合研究。<br /> <br /> 最后，我引述洪堡的最后一句话：“最危险的世界观是那些没有看过世界的人的世界观。” 因此，该中心欢迎来自世界各地的学者参观中国，并为中国同事搭建通往欧洲和国际奖金的桥梁。<br /> <br /> 祝洪堡跨学科研究中心取得圆满成功！--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:35, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> MARTIN WOESLER<br /> <br /> '''THE CHINESE PRODUCTION CULTURE<br /> <br /> Genuity, changes and compatibility with modern international production culture'''<br /> <br /> '''中国制造哲学'''<br /> <br /> 原始传统、变化和对现代国际制造文化的兼容<br /> <br /> 吴漠汀著<br /> <br /> 歐洲大學出版社2011年<br /> European University Press 2011<br /> <br /> Content<br /> <br /> Modern Chinese Production Culture<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> Cultural approach<br /> <br /> National Cultures<br /> <br /> Approaches/Perspectives <br /> <br /> The Japanese Production Culture<br /> <br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> China - Factory of the world<br /> <br /> 中国——世界工厂<br /> <br /> Genuity of Chinese production culture<br /> <br /> Made in China<br /> <br /> 中国制造<br /> <br /> Characteristics of Chinese production culture<br /> <br /> 中国商品文化的特征<br /> <br /> Shapes of modern Chinese production culture and their causes<br /> <br /> 现代商品文化的形成及其原因<br /> <br /> Necessity is the mother of invention<br /> <br /> 创造始于需要<br /> <br /> Changes in the Chinese production culture<br /> <br /> 中国商品文化的发展<br /> <br /> Roles in the Chinese production culture<br /> <br /> 中国商品文化的作用<br /> <br /> The Intermezzo of Socialism from 1949-1979<br /> <br /> 1949-1979年社会主义的插曲<br /> <br /> Gaming in the Chinese production culture<br /> <br /> 中国商品文化的博弈<br /> <br /> Effects on the company<br /> <br /> 对公司产生的影响<br /> <br /> Where is modern Chinese management and production culture (CMPC) an international role model?<br /> <br /> 中国现代经营理念和商品文化是全球的标杆，这一点体现在哪里？<br /> <br /> Logistics<br /> <br /> 物流<br /> <br /> Appendix: References <br /> <br /> 附录：参考文献<br /> <br /> Appendix: Historical Timeline China<br /> <br /> 附录：中国历史时间轴<br /> <br /> Index<br /> <br /> 索引<br /> <br /> '''Modern Chinese Production Culture<br /> <br /> 中国现代商品文化<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> 中国作为全球工厂是否为国际商品文化树立标杆？--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:38, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> In the aftermath of the Second World War, the Japanese economy lacked the finances for new machinery and, in consequence, decision-makers concentrated on optimizing existing resources and processes. Soon lean production, just in time production and quality circles became export hits, even though Japanese production culture in many ways remained typically Japanese - for instance on issues such as hierarchy and loyalty on the part of employees. Today, the modernity of a factory is measured by the extent to which these characteristics of Japanese production culture are put into practice. After the Second World War, this approach developed into a model for an international production culture.<br /> By the beginning of the 21st century, the Chinese economy had surpassed that of Japan;<br /> <br /> 二战后，日本财政无力支撑新型制造业的发展，决策者只能大力利用已有的资源和工艺技术。尽管日本的制造文化在许多方面仍然具有典型的日本特征，比如等级制度以及雇员的忠诚度等问题，但很快，精益生产以及品质圈成为出口热门。而今，日本制造文化应用于实践的程度是衡量工厂现代化程度的重要标准。二战后，这种方法成为一种典型的国际制造文化。<br /> 到了21世纪初，中国经济超越了日本。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> today, China is a global factory. This subproject analyzes and defines the &quot;Chinese production culture“ and focuses on the question of whether any of its modern characteristics can serve as a model for international production culture. Based on surveys by Hofstede (2009), case studies by Hong/Pöyhönen/Kyläheiku (2006) and on fundamental thinking of Philip Huang, the project takes as its premise that the development of Chinese production culture falls into different historical periods: from the genuinely Chinese production culture of silk, china and tea production over the slumbering industrial revolution, the import of Western manufacturing culture, the building of larger production units in the socialist a tradition, to today’s mixed production culture with Japanese and Western elements.<br /> <br /> 如今，中国是一个“世界工厂”，本子项目对“中国生产文化”进行了分析和界定，并着重探讨了中国生产文化的现代特征是否可以作为国际生产文化的典范这一问题。该项目基于霍夫斯特德（2009年）、洪/佩赫宁/凯莱海库（2006年）的案例研究和黄菲浦的基本思想，以中国生产文化发展为前提，从不同的历史时期进行探讨：从沉睡的工业革命时期真正的中国丝绸、瓷器、茶叶生产文化，西方制造文化的进口，社会主义传统中大型生产单位的建设，到当今中日两国混合生产文化与日西元素的混合。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:02, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> But still today's production culture comes with some genuinely Chinese characteristics: the Confucian understanding of the relation boss - team leader – employee, hierarchy, the concept of face (and critique), the informal network management in the decision finding process, the esteem for the concept of age, nepotism, the play instinct (including imitation), flexibility and speed. This subproject explores which of these elements are exportable in principle and which ones can be profitably implemented within international production cultures.<br /> <br /> 但今天的生产文化仍然具有一些真正的中国特色：儒家对老板-团队领导-员工关系的理解、等级、脸观（和批评）、决策查找过程中非正式的网络管理、对年龄概念的尊重、裙带关系、游戏本能（包括模仿）、灵活性和速度。此子项目探讨哪些元素原则上是可输出的，哪些元素可以在国际生产文化中有利可图地实现的。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 06:12, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Cultural approach'''<br /> 文化方法<br /> <br /> As a cultural scientist, the author of this script applies the approach of Cultural Science to describe economical cultures or subcultures. One of the subcultures of economical culture is the way or culture of management and production.<br /> <br /> 作为文化科学家，该脚本的作者运用文化科学的方法来描述经济文化或亚文化。 经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> <br /> 作为一名文化科学家，本文作者运用文化科学的方法来描述经济文化或亚文化。经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> After a phase of several decades in which mathematics has found its way into economics, cultural studies has also been rediscovered by economics in recent years.Cultural studies can be a helpful supplement, for example, when predictions for economic behavior need to be made, for example in models. The economic sciences initially contribute Homo oeconomicus, the self-interest maximizer. In recent years, especially since 2000, many experiments have shown that humans often behave diametrically opposed to self-interest:<br /> <br /> 经过几十年的数学进入经济学的阶段之后，近年来文化也被经济学重新发现了，例如当需要对经济行为进行预测时， 比如在一些模型中，文化研究可以作为有益的补充。经济科学起初是对自利最大化者经济人的贡献。 近年来，尤其是自2000年以来，许多实验表明，人类的行为常常与自我利益截然相反：--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> 经过几十年的数学进入经济学的阶段后，近年来经济学也重新发现了文化研究。例如，当需要对经济行为进行预测时，比如在模型中，文化研究可以是一种有益的补充。经济科学最初贡献了“经济人”，即利己最大化者。近年来，特别是自2000年以来，许多实验表明，人类的行为往往与自身利益截然相反:--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> '''Case 1) The bag of oranges'''<br /> <br /> Initial situation: An orange seller sells bags of oranges to tourists. He has a few rotten oranges that he could put in the bags at the bottom. The tourists would not notice it when buying and would not go to this place again because of a few rotten oranges. <br /> <br /> Behavior: He does not do it, however, but throws the rotten oranges away.<br /> <br /> Cultural-scientific explanation: In the present case, the merchant is thus ethically-morally socially responsible out of a sense of justice. <br /> <br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> One can try to construct a self-interest with the help of neurobiology: Biology leaves him no choice - if he behaves justly, although he might behave unjustly, he is rewarded with dopamine and other happiness hormones. If he were to behave unfairly at all times, he would have a guilty conscience, coupled with the fear of being caught, and sooner or later he might get stomach ulcers. In the long run, acting justly secures his life statistically better, also with regard to the economic value of his own life. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> However, if you ask the orange seller, he will at best say that it would be unfair to cheat his customers. Of course, there will always be a small number of fraudulent orange sellers in such experiments who value short-term profit more highly than long-term physical damage, if they expect it at all. And they will perhaps adopt a world view to avoid a guilty conscience, such as that rich tourists should give some of their wealth to poor orange sellers. And there will be people who cannot distinguish right from wrong due to a corresponding anatomically detectable defect in the reward system. <br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The following experiments are some of the classic and most frequently conducted and tested experiments to complement the maximization of self-interest:<br /> <br /> '''Case 2) Ultimatum game: share 10 Euros'''<br /> <br /> Initial situation: A student in Bonn is offered 10 €. The only condition: He has to give any partial amount to his fellow student. His fellow student has the right either to accept the amount allocated to him or to refuse to accept the whole 10 € for him and his fellow student. <br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Prediction according to the self-interest maximization: The first student will keep 9,99 € and give 0,01 € to the fellow student. The fellow student would have to accept the 0.01 €, as this is more than 0.00 €.<br /> <br /> Conduct: In fact, about 90% of the students in similarly conducted experiments worldwide give 5 € to their fellow student. In the few cases in which the students want to give 2 € to their fellow student and keep 8 €, the fellow student refuses the 10 € completely, and so both go away empty-handed.<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The maximization of self-interest cannot explain the behavior in both situations. Here, cultural studies provide an explanation that is supported by neurobiologists. <br /> <br /> Cultural studies explanation: <br /> <br /> For the fellow student, relative justice is more important than his own absolute gain. If the student takes more for no reason, there are various reasons not to allow this, e.g. educational. Furthermore, this is a decision under observation and the reward system rewards behavior in the sense of justice all the more, if justice has to be bought even with one's own loss. <br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Neurobiologists also explain that men consider a constellation such as this experiment like a zero-sum game and feel a sense of competition, i.e. they see the greater gain of the other as a loss for themselves.<br /> <br /> By the way, the environment also influences the degree of self-maximization against a sense of justice: <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Case 3) Bank bill in letter'''<br /> <br /> If one lets a 5 Euro bill shine through the window of an envelope that is half hanging out of the mailbox, 4 out of 10 unobserved passers-by will grab it. If you paint a graffiti on the wall next to the mailbox and put some garbage next to the mailbox, 8 out of 10 unobserved passers-by will access it.<br /> <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Case 4) Primates<br /> <br /> Behavioral researchers have successfully demonstrated homo economicus in primates: There chimpanzees help each other to get shared food. If the first chimpanzee has the opportunity to give both of them the same amount or more food, it will give as much food as possible.<br /> <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Of course, the assumption of self-interest is a reasonable approach to explain phenomena in economic life, since companies are primates in many things, but in marketing they want to appear inwardly and outwardly as human, with social responsibility and a sense of justice. The Chinese Management and Production Culture (CMPC) has a clear distribution of power in the hierarchy, which corresponds to the maximization of self-interest, but the boss has a stronger responsibility towards his employees, which also includes private areas, so that there is an above-average social component.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> References<br /> <br /> Häring, Norbert: „''Der Homo oeconomicus ist tot''“, in: Financial Times Deutschland (14.3.2001) http://ockenfels.uni-koeln.de/download/press/ftd-14032001. pdf<br /> <br /> Schlicht, Ekkehart: „''Der homo oeconomicus unter experimentellem Beschuß''“, in: Martin Held, Gisela Kubon-Gilke &amp; Richard Sturn (Hrsg.): ''Experimente in der Ökonomik. Jahrbuch normative und institutionelle Grund-fra¬gen der Ökonomik 2.'' Metropolis-Verlag, Marburg 2003, ISBN 3-89518-414-4, http://www.semverteilung.vwl.uni-muenchen.de/mitarbeiter/es/paper/schlicht-homo-oeconomicus.pdf<br /> <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> '''National Cultures''' <br /> <br /> Cultural differences decrease as the world becomes globalized. National characteristics become blurred, companies have to operate in different locations worldwide and sell their products in different markets.<br /> <br /> Nevertheless, there are historically grown traditions that come from a time when there was often already intensive global trade, but less intensive cooperation and less exchange of information.<br /> <br /> '''民族文化'''<br /> <br /> 随着世界全球化，文化差异减少。民族特征变得模糊起来，企业不得不在全球各地运营和在不同市场上销售产品。尽管如此，仍有传统沿着历史发展至今，那时全球贸易虽然已经十分密集，但密切合作更少，信息交流也更少。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 08:51, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> 随着世界日益全球化，文化差异减少。民族特征也变得模糊起来，企业需在全球各地运营并将其产品销往各国市场。尽管如此，仍有传统沿着历史发展保留至今，那时全球贸易虽已十分频繁，但密切的合作以及信息的交流远不如今。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:38, 20 November 2020 (UTC)<br /> <br /> 全球化程度愈深，文化差异愈少。民族特色模糊起来，企业需要在世界范围内运营，其生产的产品也将销往世界各地。但是，仍有传统沿袭历史发展至今，那时国际贸易已十分频繁，但合作及信息交流远不及今。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:13, 20 November 2020 (UTC)</div>

Wu Kai https://bou.de/u/index.php?title=20201123_trans&diff=105071 2020-11-21T04:21:48Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> History of Chinese Studies <br /> <br /> 国际汉学史<br /> <br /> Martin Woesler 吳漠汀 (Witten/Herdecke University, Peking Normal University 德國維籐大學，中國北京師範大學)<br /> <br /> Abstract: The roots of Chinese Studies lie as early as Chinese people started to reflect on parts of Chinese culture, which was as early as Chinese culture emerged. Especially foreign people defined Chinese culture distinctly in separation of their own culture, like ancient Greek philosophers and early delegations from the Roman Empire.<br /> <br /> 摘要：汉学的根源可以追溯到中国人开始对中国文化进行反思的时候，也可以追溯到中国文化出现之初。尤其是一些外国人，如古希腊哲学家和罗马帝国的早期代表团，他们定义下的中国文化是与自己本土文化完全分开的。<br /> <br /> ==Chang Huiyue 常慧月==<br /> From the very beginning, Western Scholars of Chinese Studies were closely cooperating with Chinese partners, so that Chinese Studies cannot be limited to Overseas Chinese Studies. Merchants went beyond their trade business and created travel reports and first translations of Chinese literature. Missionaries for the first time studied systematically the Chinese language and culture, translated the Chinese Classics and Four Books into Latin.<br /> 起初，研究汉学的西方学者与中国伙伴密切合作，所以汉学研究并不局限于海外汉学研究。商人不仅从事商业贸易，撰写旅行游记，并且首次翻译了中国文学。传教士第一次系统研究了中国语言和文化，将中国文学名著和四书译成拉丁语。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 01:29, 21 November 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> Their idealized descriptions of China stimulated the Chinoisérie and the positive reception of China among philosophers of the enlightenment, which saw China as a secular empire. Then, the China-image turned to the worse with Western scholars ascribing China a static nature creating the so-called “Great Divergence”. <br /> ==Chen Hui 陈惠==<br /> This narrative was challenged in the early 1980s with the start of the Opening and Reform Policy. Finally colleges and professorships were established first in the West and then in China. Today, Chinese Studies in the West and in China are enriching each other and are inseparably connected.<br /> <br /> Key Words: Chinese Studies, Sinology, Hanxue, Guoxue, delegations, philosophers, merchants, travel reports, translations, missionaries, enlightenment, Chinoisérie, Great Divergence<br /> 上世纪80年代初，随着改革开放政策的开始，这种说法受到了挑战。最后，学院和教授职位首先在西方建立，然后在中国。今天，西方的中国学与中国的中国学相互 促进，密不可分。<br /> <br /> 关键词:汉学、汉学、汉学、国学、代表团、哲学家、商人、游记、翻译、传教士、启蒙、中国文化、大分流--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 08:07, 20 November 2020 (UTC)Chen Hui<br /> <br /> ==Chen Jiangning 陈江宁==<br /> Definition 定義<br /> <br /> Chinese Studies, also called Sinology (in German: Sinologie) or China Studies (in German: Chinawissenschaften, Chinakunde), is the academic discipline to study China in its geography, history, society, culture(s), language(s), literature(s) etc. It is mainly divided into the study of ancient and premodern China and of modern and contemporary China.<br /> 定义 Definition<br /> 汉语研究是一门研究中国地理、历史、社会、文化、语言等的学术科目，人们也称之为汉学（德语叫做 Sinologie）或者叫中国研究（德语叫做 Chinawissenschaften,Chinakunde）。汉语研究主要分为中国古代和近代研究，以及中国现当代研究。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 03:40, 20 November 2020 (UTC)<br /> <br /> 定义 <br /> <br /> 汉语研究也称作汉学（德语叫做 Sinologie）或中文研究（德语叫做 Chinawissenschaften,Chinakunde），这是一门研究中国地理、历史、社会、文化、语言等各方面的学科，并主要分为中国古代研究、中国近代研究，以及中国现当代研究。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 03:17, 21 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> In the Chinese language, internationally the term “Hanxue” is used (first used in Japan as kangaku漢學/汉学, parallely to the term “Hanyu” 漢語/汉语 for Chinese). The term is not meant discriminative against non-Han minorities, since we have terms like “Hanyu” or “Germanic Studies” (the Germans were an ethnic tribe of many in todays Deutschland). In Chinese, domestically more often the terms “guoxue” 國學/国学 or “Zhongguo xue” 中國學 etc. are used. <br /> ==Chen Jingjing 陈静静==<br /> There is a trend to divide Chinese Studies in sub disciplines dealing with traditional or modern China, while the term “Sinology” is more often applied to the traditional part. In quantity, scholars dealing with traditional China become less and those dealing with modern or contemporary China more. Of course, there are other exotic terms for phenomena related to China or Chinese people, like the term “Tang People Street” 唐人街 for Chinatowns. <br /> ==Chen Sha 陈莎==<br /> Some Chinese scholars interpret the term “Hanxue” as reserved for the study of China by foreigners, implying often that the real “guoxue” could only be conducted by Chinese scholars, arguing you need to grow up in China in order to understand it. However, confronted with the case of overseas Chinese scholars or Western scholars growing up and working in China, the limitation of this racist distinction becomes obvious. <br /> ==Chen Sunfu 谌孙福==<br /> Although in history we have rare examples of foreigners who were able to study China without Chinese partners (starting with language teachers) or without visiting the country, and Chinese Studies today often is conducted by mixed teams of domestic and foreign scholars.<br /> ==Chen Yongxiang 陈永相==<br /> The discipline itself, as established at universities, had a natural focus on language and literature (philology). Today, we have a broad range of sub disciplines like Chinese literature [epigraphy], language, culture, philosophy/ethics/aesthetics, history, political science, sociology, economy) 中国文学[金石学]，语言，文化，哲学、伦理学、美学、历史、政治学、社会学、经济学<br /> ==Cheng Yusi 成于思==<br /> Emergence<br /> Although the first university professorships as we know them today were established only in the 1814, we find the origins of Chinese Studies in early descriptions of China by philosophers. That the empires knew early about each other is proven by delegations, exchanged even two thousand years ago between the Roman Empire and China.<br /> ==Deng Jinxia 邓锦霞==<br /> Later we have records and first translations of travelling merchants (Marco Polo lived in the 13th century and travelled on land and by ship) and then by missionaries (starting with the 16th century). Later we have western philosophers (like Leibniz) and reports in journals dedicated to China.<br /> <br /> 后来，我们有了旅行商人的记录和第一批翻译作品（13世纪的马可·波罗（Marco Polo）在陆地和海上旅行），然后有了传教士（从16世纪开始）。 再后来，我们有了西方哲学家（例如莱布尼兹（Leibniz）），他们在研究中国的期刊上进行报道。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:33, 21 November 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> The first scholarly view on China had the Christian missionaries, who studied Chinese language and culture in China. Therefore, the first translations of Chinese classics were done into Latin. The term “sinology” since the Latin term “sina” for China seems to point to the Qin Dynastie since 221 BCE. The main purpose of the missionaries was to baptize and therefore they also translated the bible into Chinese and reported on the so far mostly unknown China to Europe, reports which met a huge interest and demand in Europe.<br /> ==Fang Jieling 方洁玲==<br /> Resources 资源<br /> <br /> There are a lot of national histories of Chinese Studies so far, but no detailed international or global history (see references).<br /> The Overseas Chinese Studies Center 海外漢學研究中心 at Peking Foreign Language University 北京外語大學 under the leadership of Zhang Xiping張西平 has been renamed in the 2010s to Research Center for the Study of Chinese Culture 中國文化研究中心#. Here a list of works on the History of Sinology:<br /> ==Gan Fengyu 甘奉玉==<br /> First contacts: Trade (without written documents)<br /> <br /> Genetic evidence shows that there were trade relations from Mesopotamia to Europe and China as early as 11000 BCE (cows, horses) and 10000 BCE (crops). <br /> China very early became an export region, as we can trace the genes of animals back to China 10000 BCE (pigs), 8000 BCE (chicken), and of silk cloth 5000 BCE.<br /> <br /> 首次接触：贸易（无书面文件）<br /> <br /> 基因证据表明：早在公元前11000年了，美索不达米亚就和欧洲，中国有牛羊贸易关系，公元前10000年，就有了农作物贸易关系。追溯到公元前1000年的猪和公元前8000年的鸡身上的动物基因，以及公元前5000年的丝绸来看，中国很早就是个出口地区了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:03, 20 November 2020 (UTC)<br /> <br /> 首次接触：贸易(无书面文件)<br /> <br /> 遗传证据表明，早在公元前11000年(出现如像牛、马等动物贸易)和公元前10000年(出现农作物的贸易)，美索不达米亚与欧洲和中国之间就有贸易关系。追溯到公元前10000年猪的贸易和公元前8000年鸡的贸易，从中发现的动物基因，以及公元前5000年所交易的丝绸来看，中国很早就成为了一个出口地区。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:18, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> 遗传学证据显示，早在公元前11000年美索不达米亚就和欧洲就有了牛马贸易往来；早在公元前10000年，美索不达米亚就和中国有了作物贸易往来。追溯动物基因，我们可以发现，公元前10000年中国就有了猪，公元前8000年就有了鸡，公元前5000年就有了丝绸。因此，中国很早就成为了商品出口地区。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:28, 20 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> The Emergence of Chinese Studies: Philosophers<br /> Aristotle (384-322 BC) writes in the 4th century BC: “Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery.”[ Aristoteles: Politeia, Book VII, Part VII, translated by Benjamin Jowett, http://evans-experientialism. freewebspace.com/aristotle_politics07.htm, last visited Dec 5, 2010. In German: „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“, from: Aristoteles: Werke. Griechisch und Deutsch, vol. 6, ed. by Franz Susemihl, Aalen 1978 (Reprint of the edition Leipzig 1879), p. 409.]<br /> 亚里士多德（公元前384年-公元前322年）在公元前4世纪写到：“那些生活在欧洲寒冷气候里的人们，他们充满灵感但是缺乏智慧和技巧；所以虽然他们保留了相对的自由，但却没有政治组织，也没有能力管理其他人。然而，亚洲人聪明而善于发明，但是他们缺乏勇气，所以他们总是顺从和被奴役。” [ 亚里士多德：《政治学》，第七卷，第七部分，由本杰明·乔伊特翻译，http://evans-experientialism. freewebspace.com/aristotle_politics07.htm，访问日期2010年12月5日。德语原文为： „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“，引自：《亚里士多德作品集-希腊人和德国人》，第六卷，由Franz Susemihl, Aalen在1978年出版（1879年在莱比锡再版），第409页。]<br /> <br /> ==Gong Yumian 龚钰冕==<br /> The Emergence of Religious Missions with the Study of China as a by-product<br /> Between 1593-1607 the Spanish Dominican mission in Manila operated a press and produced 4 books on Christian belief. <br /> <br /> 1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书<br /> <br /> In 1583 the influential Jesuit Matteo Ricci arrived in Canton and spent the rest of his life in China.<br /> <br /> 1583利玛窦（耶稣会会士）抵达广州，在中国度过余生。<br /> ==Gu Dongfang 顾东方==<br /> Interest by European emperors in the beginning of the 18th century<br /> In France, the study of China and the Chinese language began with the patronage of Louis XIV. In 1711, he appointed a young Chinese, Arcadio Huang to catalog the royal collection of Chinese texts. Huang was assisted by Étienne Fourmont, who published a Chinese grammar in 1742.<br /> <br /> 在法国，对中国和中国语言的研究始于路易十四的赞助。在1711，他任命了一位年轻的中国人Arcadio Huang对皇家藏书的中文文本进行目录整理。黄的助手艾蒂安Fourmont，在1742年发表了一本中国语法书。<br /> ==Guan Qinqing 管钦清==<br /> In 1732 a missionary priest of the Sacred Congregation &quot;De propaganda fide&quot; from the kingdom of Naples, Matteo Ripa (1692–1746), created in Naples the first Sinology School of the European Continent: the &quot;Chinese Institute&quot;, the first nucleus of what would become today's Università degli studi di Napoli L'Orientale, or Naples Eastern University. Ripa had worked as a painter and copper-engraver at the imperial court of the Kangxi Emperor between 1711 and 1723. Ripa returned to Naples from China with four young Chinese Christians, all teachers of their native language and formed the Institute sanctioned by Pope Clement XII to teach Chinese to missionaries and thus advance the propagation of Christianity in China.<br /> <br /> 1732年，来自那不勒斯的传布信仰圣部的传教牧师Matteo Ripa马国贤（1692–1746），在那不勒斯创建了欧洲大陆的第一个汉学学校：“中国学院”，它后来成为了今天的那不勒斯东方大学。马国贤曾在1711和1723之间担任康熙皇帝的宫廷画家和雕刻师。马国贤从中国回到那不勒斯时，带回了四个年轻的中国基督徒。他们都是汉语教师，组建了学院，在教皇克莱门特十二世的批准下向牧师们教授中文，从而推进了基督教在中国的传播。<br /> <br /> 1732年，那不勒斯王国“圣公会”的传教士马国贤（Matteo Ripa)在那不勒斯创建了欧洲大陆第一所汉学学校“中国学院”，即后来的那不勒斯东方大学。马国贤曾在1711至1723年间担任康熙皇帝的宫廷画师和雕刻师。当他回国的时候，他带回了四个年轻的中国基督徒。他们在教皇克莱门特的授意下，组建学院、担任汉语教师，向牧师们教授中文，从而推进了基督教在中国的传播。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 01:45, 20 November 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> Chinoiserie<br /> <br /> Chinese objects of art as symbols of Chinese cultural tradition early spread to Europe, reaching the peak in the 18th century during the period of Chinoisérie“中国风”. Fascinated Collectors saved several artefacts for following generations. Their selection criteria allow to approach the guiding aesthetic principles behind their fascination. European imitations of these artefacts show in their similarities and differences to the originals and to the own cultural traditions the principles they followed to catch the reason for the experienced exoticism during the consumption of the cultural goods. Imitated imitated Chinese-style architecture, imitated Chinese paintings and imitated characters in paintings, tattoos and design, reveal what principles Westerners believed to guide Chinese traditional art.<br /> <br /> 作为中国传统文化象征的中国艺术品很早就传播到了欧洲，在“中国风”时期达到了顶峰。对此十分着迷的收藏家们为后人保存了几件文物。他们的选择标准很接近他们所欣赏的指导性美学原则。欧洲的工艺模仿品表明了他们自己的文化传统和原型的相似性和差异性，他们遵循的原则符合在文化商品的消费过程中对异国情调的体验。在绘画、纹身和设计方面的模仿特点、模仿中国风格的建筑和仿作的中国画，揭示了西方人眼里的中国传统艺术的指导原则。<br /> <br /> ==Guo Lu 郭露==<br /> Europe: Enlightened Philosophers end of the 18th century 欧洲：第18世紀末的启蒙哲学家<br /> <br /> During the enlightenment process in Europe, philosophers in their search for a vision of a world without religious control, discovered China and wanted to understand it as a secular ideal alternative to Europe. (Leibniz: Novissima Sinica, The Orphan of Zhao, Voltaire: wrote play “L'orphelin de la Chine” portrait of Confucius, Giambattista Vico.<br /> <br /> 启蒙哲学家在欧洲汉学（莱布尼茨：《中国近事》，伏尔泰：《赵氏孤儿》、孔子肖像，维柯。<br /> <br /> 1789-… Enlightened philosophers: Saw China as an enlightened kingdom with ethics instead of church and religion<br /> <br /> 1789…启蒙哲学家：看到中国作为一个有伦理的开明王国而不是教会和宗教伦理<br /> <br /> 一个不受宗教控制的世界时<br /> <br /> 在欧洲的启蒙运动中，哲学家们在寻找一个不受宗教控制的世界时，了解到了中国这一国度，并将其视为欧洲脱离世俗的替代品。（莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 19 November 2020 (UTC)<br /> <br /> 一个不受宗教控制的世界时<br /> 在欧洲启蒙运动的进程中，哲学家们在寻找一个不受宗教控制的世界时，发现了中国，并希望可以将其视为欧洲脱离世俗理想替代品。莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》 --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 09:10, 19 November 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> Europe: Professorships<br /> <br /> The study of Assyriology and Egyptology developed before the serious study of China because of their connections to the Bible; the study of Indology represented a breakthrough in the development of linguistics. Chinese texts, perhaps because they did not have these connections, were the last to be studied in European universities until around 1860 except in France (Zurndorfer, China Bibliography 1999 p. 6, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 由于和圣经的紧密联系，亚述学、埃及学的研究在正规的中国研究前发展充分；印度学研究代表了语言学发展的突破口。可能是因为中国文本和它们没有联系，所以直到1860左右，它才成为除了法国外的欧洲大学最后的研究对象。<br /> ==Han Wanzhen 韩宛真==<br /> The first college to study Chinese was established in Italy. At the Academy in St. Petersburg in Russia, on March 23, 1741, the lecturer 伊拉利昂·罗索欣 started to teach Chinese Studies. He was also part of a mission sent to emperor Kangxi in Qing Dynasty.de<br /> <br /> 首个教授汉语的大学创建于意大利。1741年3月23日，在俄罗斯圣彼得堡的学院，讲师伊拉利昂·罗索欣开始教授汉语学。他还参加了清朝对康熙帝进行的宣教活动。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:22, 21 November 2020 (UTC)<br /> <br /> 首个学习汉语的学院创建于意大利。1741年3月23日，讲师伊拉利昂·罗索欣在俄罗斯圣彼得堡学院开始讲授汉学。该讲师也曾参加清朝对康熙帝进行的宣教活动。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:54, 21 November 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> On December 11, 1814, the first Professorship of Chinese and Manchu was established at the Collège de France, the sinologist 雷慕莎 Jean-Pierre Abel-Rémusat, who taught himself Chinese, filled the position, becoming the first professor of Chinese in Europe. By then the first Russian Sinologist, Nikita Bichurin, had been living in Beijing for ten years. <br /> <br /> 1814年，研究中国和满族的讲学席位在法国的大学成立。雷慕莎自学了中文，占据了这一位置，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。<br /> 1814年，首个研究中国和满族的讲学席位在法国的大学成立，雷慕莎自学中文，登上了这一席位，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:47, 21 November 2020 (UTC)<br /> <br /> ==Hu Baihui 胡百辉==<br /> Abel-Rémusat's counterparts in England and Germany were Samuel Kidd (1797–1843) and Wilhelm Schott (1807–1889) respectively, though the first important secular sinologists in these two countries were James Legge and Hans Georg Conon von der Gabelentz. Scholars like Legge often relied on the work of ethnic Chinese scholars such as Wang Tao (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 雷慕莎的同仁分别有英国的Samuel Kidd（1797–1843）和德国的Wilhelm Schott（1807–1889），虽然在这两个国家头等重要的世俗汉学家是理雅各和加贝伦茨。理雅各等学者常常依靠华人学者如王韬等人的作品。<br /> <br /> <br /> 阿贝尔·雷穆萨在英国和德国的同行分别是塞缪尔·基德（Samuel Kidd，1797-1843）和威廉·肖特（Wilhelm Schott，1807-1889），不过这两个国家最早出现的重要世俗汉学家是詹姆斯·莱格和汉斯·格奥尔格·科农·冯·德加布伦茨。像莱格这样的学者经常依赖于像王韬这样的华裔学者的作品。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:08, 19 November 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> Stanislas Julien served as the Chair of Chinese at the Collège de France for over 40 years, starting his studies with Rémusat and succeeding him in 1833. not only of classical texts but also works of vernacular literature, and for his knowledge of Manchu. Édouard Chavannes succeeded to the position after the death of Marquis d'Hervey-Saint-Denys in 1893. Chavannes pursued broad interests in history as well as language (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).<br /> <br /> 儒莲担任法兰西学院的汉学教授超过40年，他与雷慕莎一起开始他的研究，并在1833年继承了雷慕莎的工作。他以不仅针对古典文学、而且涉猎白话文学作品的翻译工作和和对满族的了解而闻名。沙畹在德理文于1893去世后继承了他的位置，沙畹在历史和语言领域上兴趣广泛。<br /> <br /> 斯塔尼斯拉斯·朱利安（Stanislas Julien）在法兰西学院（Collègede France）担任中文主席40多年，从雷穆萨（Rémusat）开始学习，并于1833年继任。他不仅学习古典文学作品，还学习白话文学作品，并了解满族。 爱德华·沙畹在1893年侯爵·圣赫尔·圣丹尼斯（Marquis d'Hervey-Saint-Denys）去世后继任。沙畹追求历史和语言的广泛利益（Zurndorfer，中国参考书目1999年第8-14页，引自Wikipedia“ Sinology”， 2018年8月6日）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> Rulian served as a professor of Sinology at the French Academy for more than 40 years. He started his research with Remusa and inherited Remusa's work in 1833. He is famous for his translation work not only for classical literature, but also for vernacular literary works and his understanding of Manchu. Chavannes inherited his position after De Liwen died in 1893. Chavannes has a wide range of interests in history and language. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> After the Opium war 1840, the Department of Oriental Studies at Cambridge University and the SOAS/London University were established.<br /> <br /> In 1875, Leiden University in the Netherlands started and in 1890 the sinologist 考狄 founded the first academic journal by Westerners on China, the Toung Pao 通报.<br /> <br /> 1840年鸦片战争后，剑桥大学东方研究院和英国伦敦大学亚非学院成立。<br /> <br /> 1875年，荷兰莱顿大学成立，1890年，汉学家考狄创办了第一个由西方人撰写的关于中国的学术期刊—《通报》。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:10, 19 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> In 1912, Richard Wilhelm, who had lived in China for about 30 years, taught at the Friedrich Wilhelm University in Frankfurt and established a Chinese Seminar “中国学社” and together with Beiping’s Furen University the journal华裔学志.<br /> <br /> At the end of the 19th century, in Sweden the University of Gotheburg established East Asian Language and Culture Seminar, starting with Sven Hedin, who explored Western China, followed by the the Chinese linguist 高本汉.<br /> ==Jiang Fengyi 蒋凤仪==<br /> The image of China as an essentially Confucian society conveyed by Jesuit scholars dominated Western thought in these times. While some in Europe learned to speak Chinese, most studied written classical Chinese. These scholars were in what is called the “commentarial tradition” through critical annotated translation. <br /> <br /> 那时，中国在西方的形象是靠耶稣会学者传达的，本质上是儒家社会的形象，这样的形象主导了西方思想。在欧洲，有一些人学习说汉语，但大部分人学习写文言文，这些学者学习时会使用批判性的注释，属于“注释传统”的行列。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:05, 20 November 2020 (UTC)<br /> <br /> <br /> 在那个时候，中国在西方的形象在本质上是以耶稣会学者传达的儒家社会为主。在欧洲，有些人学学习说中文，大多数人则学写书面文言文。这些学者们通过批判的注释性翻译处在了所谓的“注释传统”。<br /> <br /> 当时，耶稣会学者所传达的中国本质上是儒家社会的形象主导了当时的西方思想。在欧洲，虽然有些人学说汉语，但大多数人学的是文言文。这些学者是在所谓的“评论传统”通过批评注释翻译。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:32, 20 November 2020 (UTC)Li Lili<br /> <br /> 耶稣会士学者传达的中国作为一个儒家社会的形象在当时根深于西方人的思想中。 尽管有些欧洲人学会了说中文，但大多数人仍然学习古典汉语。 这些学者通过批判性的注释翻译而处于所谓的“注释传统”中。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 01:31, 21 November 2020 (UTC)<br /> <br /> ==Jiang Hao 姜好==<br /> This emphasis on translating classical texts inhibited the use of social science methodology or comparing these texts of other traditions. One scholar described this type of sinology as “philological hairsplitting” preoccupied with marginal or curious aspects (Zurndorfer, China Bibliography 1999 p. 14-15, quoted from Wikipedia “Sinology”, August 6, 2018). Secular scholars gradually came to outnumber missionaries, and in the 20th century sinology slowly gained a substantial presence in Western universities.<br /> <br /> 这种强调翻译经典文本的做法阻碍了社会科学方法论的使用或与其他传统的文本的比较。有学者称这类汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者逐渐多于传教士，并在西方大学为20世纪的汉学慢慢积累了实质性存在。<br /> ==Jiang Qiwei 蒋淇玮==<br /> Sinology in Germany 德国的汉学<br /> <br /> Today, in Germany there are about 30 universities and universities of applied sciences with Chinese Studies..<br /> <br /> Since the beginning of the 19th century, people started to conduct research on China. In 1829–1831, the orientalist Carl Friedrich Neumann bought 12,000 Chinese books in Canton, which he shipped to Munich and which became the foundation of the East Asian Collection of the Bavarian State Library as well as the Berlin State Library. Since 1833 Wilhelm Schott taught Chinese and Chinese philosophy in Berlin. <br /> ==Kang Haoyu 康浩宇==<br /> Pioneering research on China were the geological-geographical research trips by Ferdinand von Richthofen since the early 1860s. In 1887 the first Chinese language classes and sinological classes started at the Seminar for Oriental languages in Berlin. In 1889, the first German Chair of Sinology was established at the University of Leipzig, the first full professor was Hans Georg Conon von der Gabelentz. In 1912 the 2nd chair was established in Berlin with J. J. M. de Groot and in 1914 at the Colonial Institute in Hamburg with Otto Franke.<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学讲座在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二任主席由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:12, 20 November 2020 (UTC)<br /> <br /> 19世纪60年代初以来，费迪南·冯·李希霍芬的地质地理研究之旅是对中国的开创性研究。1887年，柏林东方语言研究会开设了第一批汉语班和汉学班。1889年，德国第一个汉学委员会在莱比锡大学成立，第一个全职教授是汉斯·格奥尔格·科农·冯·德·加贝伦茨。1912年，第二个委员会由格鲁特在柏林设立，1914年由奥托·福兰阁在汉堡殖民地研究所设立了另一委员会。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 12:38, 20 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> During colonial times, in which the German Empire held the Chinese colony “Kiautschou”, the interest in Chinese culture grew. The exile of many Chinese scientists in the period of National Socialism harmed the German Sinology sustainably. Since the opening up of the People's Republic of China in the 1980s, Sinology in Germany is no longer among the orchid subjects and new students of Sinology have good job prospects. <br /> ==Kong Xianghui 孔祥慧==<br /> The change of attitude among early China experts with the example of the early reception of the Red Chamber Dreams<br /> <br /> The Red Chamber Dreams shortly after publication in 1791 spread fast among the foreigners’ community including Robert Morrison (who incorporated parts of it into his language teaching material and dictionary already by 1813-1815).<br /> <br /> 早期中国专家态度的转变-以早期接受《红楼梦》为例<br /> 《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 08:59, 19 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The novel also was made known in partial translation both in English and French (by John Francis Davis) in Europe in 1819. However, for a few decades, the Western reviews of the book were mostly negative, revealing an ethnocentric approach, valuing Chinese literature below Western literature.<br /> <br /> 1819年，《红楼梦》的英语和法语（John Francis Davis译）的部分翻译使这部小说知名于欧洲。然而，几十年之后，西方对于该书的评论大多是消极的，他们认为该书呈现出种族中心主义的观点，并且认为西方文学高于中国文学。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:27, 20 November 2020 (UTC)<br /> <br /> 1819年,该小说还被译成英语和法语（约翰·弗朗西斯·戴维斯译（John Francis Davis）），因而在欧洲为人所知。然而，几十年来，西方对该书的评论大多是负面的，这揭示了西方的一种民族中心主义，即认为西方文学高于中国文学。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:43, 21 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> It took almost a century to get to know each other better, to change attitudes from ethnocentric to dialectical, to stop exploiting the novel and to come to the insight that Chinese literature with Dream as one of its masterpieces was not only comparable to other world literatures but also could bring value to Western readers (Mayers 1867).<br /> <br /> 经过几乎一个世纪，双方增进了解，并从“民族中心主义”的优越感向辩证思想转变，停止利用小说互相攻击，开始深入了解中国文学，不仅将《红楼梦》这类杰作与其他世界文学相比较，而且，更重要的是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。<br /> <br /> 几乎一个世纪,增进了彼此的了解。双方从“民族中心主义”转向辩证思想，停止利用小说互相攻击，并开始深入了解中国文学。不仅将《红楼梦》这类杰作与其他世界文学相比较，更是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:17, 20 November 2020 (UTC)<br /> <br /> 近一个世纪，彼此之间增进了了解，从”民族中心主义“的优越感转向辩证思想，停止利用小说互相攻击，并开始深入了解以《红楼梦》为代表的中国文学，它不仅可以与世界其他文学相媲美，而且还可以为西方读者传递价值观。（梅辉立（Mayers） 1867年）。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 13:30, 20 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> Main Controversies<br /> <br /> a) The Great Divergence<br /> <br /> One of the main controversies in Chinese Studies is that for a long time China appeared economically backward (compared to Western European nations). Sociologists (Marx), philosophers (Hegel), economists (Kenneth Pomeranz: The Great Divergence) and sinologists tried to explain this with the static nature of Chinese economy due to Confucianism.<br /> <br /> 主要的争议<br /> <br /> a)大分流<br /> <br /> 汉学研究的主要争议之一是，长期以来，中国出现了经济落后的情况(与西欧国家相比)。许多社会学家(如马克思)，哲学家(如黑格尔)，经济学家(如肯尼斯·彭慕兰：《大分流》)和汉学家试图用儒家思想所导致的中国经济的静态性来解释这一现象。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:06, 20 November 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Scholars have questioned this: Angus Maddison suggested that China was leading (rotating ranks with India) by GDP from 0 to 1550 so that the current development was a return to old status. Philipp C.C. Huang concentrated on rural developments and argued that only the concentration of production capibilities during the socialist reforms laid the foundation for today’s Chinese economical miracle. Today, sinologists argue that Confucianism is one of the main reasons for the economical miracle.<br /> ==Li Lili 李丽丽==<br /> “The Chinese have as a general characteristic, a remarkable skill in imitation, which is exercised not merely in daily life, but also in art. They have not yet succeeded in representing the beautiful, as beautiful; for in their painting, perspective and shadow are wanting.<br /> “中国人有种普遍特征，即拥有卓越的模仿能力，这种能力不仅体现在日常生活中，也体现在艺术中。但由于其绘画领域中缺乏透视法和阴影画法，他们无法充分展现事物的美。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:25, 20 November 2020 (UTC)Li Lili<br /> <br /> “总之，这个民族有种罕见的模仿能力，这不仅体现在他们的日常生活中，也用运到了艺术创作当中。美作为美的事物去展示对于这个民族来说并不成功，因为在绘画中缺少了透视和阴影。<br /> <br /> 中国人有一个总体特征，那就是其超凡脱俗的模仿能力。这不仅体现在他们的日常生活中，也运用到了艺术创作当中。由于其绘画中缺乏透视法和阴影，他们无法淋漓尽致地表现出事物的美。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:28, 18 November 2020 (UTC)Mo Ling<br /> <br /> “中国人有种普遍特征：一种卓越的模仿能力，这种能力不仅运用于日常生活中，也运用在艺术领域。但由于画中缺乏透视和阴影，中国人没能成功展现出美感”--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:47, 20 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> And although a Chinese painter copies European pictures (as the Chinese do everything else) correctly; although he observes accurately how many scales a carp has; how many indentations there are in the leaves of a tree; what is the form of various trees, and how the branches bend; - the Exalted, the Ideal and Beautiful is not the domain of his art and skill. The Chinese are, on the other hand, too proud to learn anything from Europeans, although they must often recognize their superiority.” <br /> Hegel, The Philosophy of History (transl. J. Sibree, p. 155)<br /> <br /> 即使中国画家原封不动地模仿欧洲的绘画，如若他知道鲤鱼有多少鳞片……，崇高的、理想的、美的事物也不是他的艺术土壤和擅长之处。” 黑格爾，《历史哲学讲演录》<br /> ==Li Liqin 李丽琴==<br /> b) Chinese and Western scholarship<br /> <br /> Traditional Chinese education (focusing on self development and social harmony) differed much from Western scholarship (search for truth and universal human values). Chinese scholars of guoxue often do not recognize Western scholars of Hanxue as their colleagues. Today there are trends to return to Confucian education, teaching and scholarship in China, taking the Hanlin academy as example (see: Hong Kong College).<br /> <br /> b）中西学问<br /> <br /> 中西方在传统教育方面又很大不同，前者侧重于追求自我发展和社会和谐，后者寻求真理和普世价值观。中国国学学者通常不把西方汉学学者当作同行。如今，儒家教育以及儒学研究在中国如火如荼，以翰林书院为例（见：香港大学）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:19, 18 November 2020 (UTC)<br /> <br /> b）中西学术<br /> 中国传统教育（注重自我发展和社会和谐）与西方学术（追求真理和普遍的人类价值）有很大不同。中国国学学者往往不承认西方汉学学者是他们的同僚。今天，中国教育有向儒学教育回归的趋势，以翰林院为例（参见：香港大学）。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:17, 19 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> Also Traditional Chinese Medicine has continued to be an alternative to Western medicine, although the general grouping into Yin and Yang has been proven to be arbitrary since objects/organs etc. historically were assigned to Yang for a time and to Yin at other times. However, acupuncture has been recognized by Western medicine to be effective. Western reproach towards Chinese scholarship is that it is not conducted in a free environment.<br /> <br /> ==Li Meng 李梦==<br /> From Ethnocentrism and Exoticism to Universalism and Dialogue: <br /> the General Trend of Chinese Studies in the West - <br /> A Case Study of the Early Western Reception of Red Chamber Dreams<br /> <br /> 从种族中心主义和异国主义到普遍主义和对话：<br /> 西方中国学之总趋势——以《红楼梦》早期西方接受为例<br /> <br /> Martin Woesler <br /> (Witten/Herdecke University, Peking Normal University, Nanking Normal University)<br /> <br /> Abstract<br /> “Chinese Studies” (Sinology, Chinakunde, Études Chinoises etc.) in general from its origins until today sees a main trend from ethnocentrism and exoticism to universalism and dialogue. Undergoing historical periods of Chinoisérie and then China-bashing during imperialist and colonialist times, Chinese Studies at universities and in associations like the German China Association has established a more objective view on China. <br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，汉学在大学和学术协会（如德中协会）里建立了一个对中国更为客观的看法。<br /> 摘要<br /> “汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，大学和学术协会（如德中协会）的汉学建立了一个对中国更为客观的看法。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 00:40, 21 November 2020 (UTC)<br /> <br /> ==Li Yongshan 李泳珊==<br /> Ethnocentrism is still existing among Western sinologists today and has to be fought. Still, the contemporary trends globalization, digitalization and travel freedom offer the current generation of sinologists so far unseen possibilities of international cooperation, promising extremely fruitful especially between distant cultures like China and the West. <br /> 但是，在当代西方汉学家中间仍然还存在民族中心主义，我们需要为此而抗争。随着全球化、数字化和“出境自由行”这三种当代趋向的出现，新一代汉学家获得了前所未见的国际合作可能，特别像是中西间如此大跨度的文化差异，其国际合作的前景和潜力更是无可估量。<br /> <br /> ==Li Yu 李玉==<br /> Key words<br /> Ethnocentrism, Exoticism, Universalism, Chinese Studies, German China Association, universal values, Gregor Paul, cooperation, China and the West<br /> <br /> 關鍵詞<br /> 宗族中心主義、異國主義、普遍主義、漢學/中國學、德中協會、普遍價值觀、Gregor Paul、合作、中國與西方<br /> <br /> When we define an academic category like “Chinese Studies”, we pay respect to the fact that the world historically has developed differently in different regions. <br /> <br /> ==Lin Min 林敏==<br /> Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads. Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. <br /> <br /> ==Lin Xin 林鑫==<br /> The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> 最古老的文字文明的证据，可以追溯到公元前3500年，我们在美索不达米亚平原这片新月状的沃土中找到了苏美尔人的粘土板。随后在古埃及，然后是印度，最后在中国也相继找到了证据。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:03, 20 November 2020 (UTC)<br /> <br /> ==Ling Zijin 凌子瑾==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today. We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> 但是我们对历史探索得越多,就有更多有趣的证据证明，比起看似可能存在的思维迁移，这些看似独立的发展中地区存在更多的贸易关系和思想交流，从历史角度来看，我们并不只是重新发现和重新评估丝绸之路,也是作为一个政治议程来重建它。我们今天在美洲和亚洲发现了欧洲文明的早期证据，在美洲和欧洲也发现了中国文明的早期证据。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:23, 20 November 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> ==Liu Liu 刘柳==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> ==Liu Ou 刘欧==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character. <br /> <br /> ==Liu Yi 刘艺==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 第一次通过西方人对中国文化进行深入的分析，不是来自商人，而是来自耶稣会士。对中国的了解是多么的少，这可以从以下事实中看出，只有耶稣会士设法澄清了鞑靼和基泰/卡泰两个帝国的神话，事实上，这两个帝国都是同一个（中国）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:36, 20 November 2020 (UTC)<br /> <br /> 第一次对中国文学进行深入分析的西方人不是商人，而是耶稣会士。西方人对中国知之甚少可以从以下事实看出：只有耶稣会士成功地澄清了鞑靼和契丹这两个帝国的神话事实上是相同的（都属于中国）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:44, 20 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China. <br /> <br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] <br /> <br /> ==Liu Zhiwei 刘智伟==<br /> The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> <br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. <br /> <br /> ==Lou Cancan 娄灿灿==<br /> Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> <br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor. <br /> <br /> ==Ma Juan 马娟==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. <br /> <br /> ==Ma Shuya 马淑雅==<br /> However, this phase did only last as long as it fit to European politics. As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> <br /> ==Ma Zhixing 马智星==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.<br /> <br /> ==Meng Ying 孟莹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> <br /> Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.<br /> <br /> ==Mo Ling 莫玲==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.).<br /> <br /> 错误百出的评论可以证明这一点（马礼逊：这本书没什么文采，但由于它是用北京方言所写，因而可以作为语言学习材料；居茨拉夫：主角宝玉真是一个爱耍小性子的女人；贾尔斯：“红楼梦没有在书中出现过”等等。）。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:17, 18 November 2020 (UTC)Mo Ling<br /> <br /> <br /> 书评中许多人对其的误解能证明这一点（马礼逊：这本书文笔拙劣，但由于是用北京话写的，因此可以用作语言学习材料;居茨拉夫：主角宝玉是一个被宠坏的女子; 贾尔斯：“红楼梦”一词没有在书中出现等）。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:47, 20 November 2020 (UTC)Ou Rong<br /> <br /> ==Mo Nan 莫南==<br /> Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels. <br /> <br /> ==Ou Rong 欧蓉==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “[dreams of the red chamber.” He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation.<br /> <br /> <br /> 1815年，澳门牧师罗伯特·莫里森（Robert Morrison，1782-1834年）在其《汉语词典》中将小说的标题称为“红楼梦”，从而创造了该小说的标题的西译本。[他解释道小说红楼梦中一个叫妙玉的女子就像是一块令人钦佩的宝石，参见罗伯特·莫里森：《汉语词典》三部分，澳门：东印度公司出版社1815年，第一卷p930，此处p614，左栏。印刷版出版24年后，这是第一次提及该小说，并将其标题翻译成迄今已知的西方语言。如果没有更早的发现，则意味着莫里森所创作的译本一直持续到今天几乎不变。]他选择了复数形式，这是相当合理的，因为小说中有许多梦想。似乎在27年后，复数的“梦”变成了单数的“梦”，听起来更笼统，因此也是一种合理的翻译。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:35, 20 November 2020 (UTC)Ou Rong<br /> <br /> 1815年，澳门牧师罗伯特·莫里森(1782-1834)在他的《汉语词典》中将《红楼梦》称作“dreams of the red chamber”，从而创造了小说的英文译名。他把《红楼梦》这本小说中一个女性人物的名字“妙玉”中的“妙”字解释为“令人艳羡的宝石”，（参见罗伯特·莫里森《汉语词典》，澳门：东印度公司出版社，1815年，第一卷第936页，此处第614页左栏)。在印刷版出版24年后，这是第一次提到并将标题翻译成西方语言。如果找不到比这还早的标题翻译，便意味着莫里森创造的翻译一直持续到今天都几乎发生没有改变。“梦”这个词的译文他选择了复数“dreams”，这是相当合理的，因为在小说中有许多梦。27年后，复数的“梦”（dreams)变成了单数的“梦”(dream)，这听起来有点笼统，但也是一个合理的翻译。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 12:35, 20 November 2020 (UTC)<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> ''Red Chamber Dreams'' is the most common translation in English and, in its variations, in all Western languages so far.<br /> <br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “''Dreams of the Red Chamber''” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> Morrison claims that ''Dream'' was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the ''Dreams'' is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 马礼逊称《红楼梦》是用北京方言写的，但他的说法并不属实，因为书的作者曹雪芹其实是南方人，书中很多角色有时候还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，也是作者有意而为之，这也是此作品之后享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年仍有人说《红楼梦》是用北京方言写成。]--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 11:07, 18 November 2020 (UTC)Ouyang Ling<br /> <br /> 马礼逊认为，《红楼梦》是用北京方言写的，但他的说法并不属实，《红楼梦》的作者曹雪芹其实是南方人，书中很多角色在某些场合甚至还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，这是作者有意而为之，也是《红楼梦》在后来享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年时，仍有人认为《红楼梦》是用北京方言写成。]--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:22, 19 November 2020 (UTC)<br /> <br /> 马礼逊声称《红楼梦》是用北京方言写成的。这一说法是不正确的，因为作者曹雪芹来自南方，小说中很多人说话都有南京方言的色彩。事实上，方言和社会用语的巧妙和有意的转换为这部小说后来的名声做出了贡献。马礼逊的错误持续了很长一段时间。[即使是在1995年，还有人说《红楼梦》是用北京方言写成的。]--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 09:29, 20 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this （导言）reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p.76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http:// www.rc.umd.edu/reference/qr/index/41.html, last visited Dec 5, 2010.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. <br /> <br /> ==Peng Juan 彭娟==<br /> For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. <br /> <br /> ==Peng Ruihong 彭锐宏==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> <br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> <br /> 实际上，这些描述中给出的图形比较对于当时的欧洲人来说简直是陌生的，因为它们显然不符合欧洲人自己的美感。<br /> <br /> 甚至在1842年，居茨拉夫（Gützlaff）都批评说：“作者[对]他无法对这个主题伸张正义，提出了许多抗议，这确实是书中唯一的道理。以说北方法院方言的方式，可以有利地细读这部作品” [“在中国小说中，这部作品绝对享有很高的地位。在多次抗议他无法公正对待这个主题之后，这确实是本书中唯一的真相[...]总结了这个乏味的故事，在表达我们对表演文学价值的看法后，我们可以说这种风格没有任何艺术意义，实际上是北部省份上层阶级的口头语言。有些词的用法与普通著作有所不同，而另一些词的用法则是为了表达省级声音。但是，读完一卷书后，这种感觉很容易理解，并且无论谁希望熟悉北部法院方言的表达方式，都可以从中受益。同上，p。273.]<br /> --[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 03:49, 20 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below – <br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed.<br /> <br /> 1867年，即第一本中文印刷版出版78年之后，我们对梅辉立的两页进行了首次真正的深入回顾：[梅辉立，在：中日释疑（1867年12月31日）,第167-168页，此处第167页。梅辉立曾担任英国使馆驻北京的中国秘书。他还给出了一些翻译中的简要摘录：<br /> “天堂之上或地狱之下都很广阔–<br /> 叹息可能会限制过去的激情<br /> 为无知的青年，不幸的少女而悲伤！<br /> 最后，爱的誓言不是经常被兑现的！ ”（第167页）[…]<br /> 不会脾气柔和，方式温和，<br /> 公平为最公平…（第168页）<br /> […]<br /> 不常发光<br /> 你的渴望也是徒劳的！ ” (第168页)].]<br /> <br /> “如果公然宣称对任一中国作品充满热情的感觉是合法的，那么要对红楼梦或‘Dreams of the Red Chamber’的无端指摘表示真正的钦佩是不可能的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 13:37, 19 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors. <br /> <br /> ==Peng Yuzhi 彭育志==<br /> Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; <br /> <br /> ==Qi Kai 漆凯==<br /> whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end.<br /> <br /> 同时，就像在自然界的生存戏剧中一样，风暴和阳光的反射紧密地交织在一起，喜剧的轻快线与故事的黑暗主线并排而行，故事的黑暗主线以悲伤的预兆开始，以泪洗面而终。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 12:35, 20 November 2020 (UTC)Qi Kai<br /> <br /> ==Qu Miao 瞿淼==<br /> If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> <br /> ==Quan Meixin 全美欣==<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture.<br /> <br /> ==Sagara Seydou ==<br /> This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s.<br /> 随着在欧洲和美国建立更多多元化的中文研究，在美国大学中扮演海外华人的角色，尤其是在1930年代通过Franz Kuhn进行的进一步翻译以及 1950年代的德国中国协会.--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 03:12, 20 November 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> <br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China.<br /> <br /> <br /> 在其60年的历史中，德国中国协会(旁边是正在发展的大学中国研究中心，旁边是其他与中国打交道的组织，如友好协会和孔子学院)以多样性和宽容帮助克服偏见和文化相对主义。这尤其具有挑战性，因为两国文化和语言相当遥远，而德国媒体和互联网社区往往会抨击中国。<br /> 在过去的20年里,德国的中国协会在优秀的主席格雷戈尔保罗领导下建立,通过敏锐和精确的分析中国和西方的一个共同的逻辑，还有普世价值,包括值得一起追求的人权，他建立起了这个协会的声誉。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 04:17, 21 November 2020 (UTC)<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before. Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> <br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like “A Harvard Literary History of Modern China”.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume ''History of Chinese Literature'' published in Bonn. <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god. This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让我们再次想起耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，尽管中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、演讲和绘画，把美好愿景和文献记载世代相传，而非源自与上帝的邂逅。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 13:20, 19 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”. <br /> <br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> “We were wrong” – Coming to terms <br /> with failed master narratives of Chinese Studies<br /> “我们错了”——汉学应对主流叙事传统<br /> <br /> Martin Woesler 吴漠汀<br /> <br /> Abstract<br /> 摘要<br /> <br /> We, the international scholars of Chinese Studies, apologize for two main misinterpretations of China. 1. The master narrative of Jesuits and others who tried to proof the Western Christian god in ancient Chinese texts. As a tool, they used a distortion of the Chinese texts by manipulated translation. <br /> <br /> 我们是中国研究的国际学者，对中国的两个主要误解道歉。 1.耶稣会士和其他人在古代中国文本中试图证明西方基督教之神的主要叙事。作为一种工具，他们通过操纵翻译来歪曲中文文本。<br /> <br /> “我们错了”---学会接受错误的汉学主流叙述<br /> <br /> 吴漠汀<br /> <br /> 摘要<br /> <br /> 我们作为汉学的海外学者，要向中国道歉，因为我们在两个方面误读了中国。1. 耶稣会教士和其他人的主流叙事试图证明古代中国作品存在西方的基督教上帝。他们通过操纵翻译来歪解中国作品。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:36, 19 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> 2. The master narrative of the stagnation of China, sometimes claimed to be inherent and systemic, often reasoned with Confucianism. This narrative was a dogma for 150 years between 1830 and 1980. The disruptive economic development since 1978 has proven this narrative wrong, Confucianism is seen as one reason for the economic miracle. <br /> <br /> 2.关于中国停滞的主要叙述，有时被称为固有的和系统性的，常常用儒家思想来推理。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙事错误，儒家思想被视为经济奇迹的一个原因。<br /> <br /> 2.中国停滞的主要叙述有时是内在的、系统的，通常由儒家思想所论证。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙述是错误的，而儒家思想被视为经济奇迹的原因之一。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:31, 19 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> 3. The master narrative of the Great Proletarian Cultural Revolution as a successful Communist reform. During the 1970s, Western sinologists abandoned basic principles of neutrality, distance and fact-seeking and, based on propaganda, enthusiastically celebrated the Cultural Revolution and became dedicated followers of Mao Zedong, holding up the Little Red Book.<br /> <br /> 无产阶级文化大革命的主要叙事是成功的共产主义改革。在20世纪70年代，西方汉学家放弃了中立，距离和事实寻求的基本原则，并在宣传的基础上，热烈地庆祝文化大革命，成为毛泽东的忠实粉丝，举起小红皮书。相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> 主述将无产阶级文化大革命（文革）描述为共产党的一场成功改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传的基础上，热衷于庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:40, 19 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> The readiness to believe in the Chinese propaganda was partly motivated by the wish to idealize China into a model which could show the way for a reform of Western societies.<br /> <br /> 相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> Key words<br /> <br /> 关键词<br /> <br /> Apology, errors, mistakes, manipulation, ethnocentrism, eurocentrism, master narratives, Chinese Studies, sinology, coming to terms with the past<br /> <br /> 道歉，错误，错误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> 1. God in China上帝在中国<br /> <br /> Human beings develop ancestor worship, complemented by natural religions. The natural religions established a layer of shamans who interpreted the will of the natural gods. <br /> <br /> 人类发展祖先崇拜，辅以自然宗教。自然宗教建立了一套解释自然神灵意志的法则。<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> In India, the layer of priests of the Vedan religion alienated from the people, because the religious texts of Vedan religion brought a conservating effect to language, texts were canonized and finally not understood by ordinary people any more. <br /> <br /> 在印度，Vedan宗教的神职人员与人民疏远，因为Vedan宗教的宗教文本对语言产生了保护作用，文本被册封，最后不再为普通人所理解。<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> Finally, only the Vedan priests could understand the Vedan texts any more. This was the start of the so-called “anti-religious” start of Buddishm.<br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是Buddishm所谓的“反宗教”起源的开始。<br /> <br /> <br /> 最后，只有Vedan牧师才能理解Vedan文本。这是佛教所谓的“反宗教”起源的开始。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:50, 20 November 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Due to the alienation of people and the religious texts and its priests, Buddha was able to establish Buddhism. He claimed that every individual was able to find his or her own way to self-perception and spiritual liberation (nirvana). <br /> <br /> 由于人与宗教文本及其祭司的异化，佛陀能够建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式（涅槃）。<br /> <br /> 由于人们和宗教文本及其祭司的异化，佛陀得以建立佛教。他宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 02:38, 20 November 2020 (UTC)<br /> <br /> 人们和宗教由于文本及其祭司发生了异化，佛陀得以建立佛教。佛陀宣称，每个人都能找到自己的方式来实现自我认知和精神解脱（涅槃）。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:59, 20 November 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> <br /> Although Buddha did not abandon priests, he established the new tradition that masters would have their disciples and these could overcome their masters. Also, Buddha destroyed the perfectionism of the almighty god by claiming that the life of imperfect men simply was much more interesting. <br /> <br /> 虽然佛陀没有放弃传教者，但他建立了新的传统，即主人会有他们的门徒，这些人可以推翻他们的主人。此外，佛陀通过声称不完美男人的生活更加有趣，摧毁了全能神的完美主义。<br /> <br /> ==Wang Yuan 王源==<br /> <br /> In China, ancestor worship has kept its dominant role until today. Although there was the age of shamans, since several millenia every family clan had its own tradition of ancestor worship. It was believed that the ancestors in heaven watched over and influenced the lives of their descendants on earth. <br /> <br /> 在中国，祖先崇拜一直保持其主导地位，直到今天。虽然萨满有年龄，由于几千年来每个家族都有自己的祖先崇拜传统。据信，天上的祖先观看并影响了他们在地球上的后代的生活。<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> So the most important unit were family clans. Even rulers used fire cracks and characters inscribed in turtle shells or cattle bones to communicate with the ancestors and to predict the future. <br /> <br /> 所以最重要的单位是家族。甚至统治者也使用火龟纹和龟壳或牛骨上的字符来与祖先交流并预测未来。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> However, when the dynasty changed and a new ethnic group took over, they could not claim the ancestors to be their relatives any more, so the shangdi concept was replaced by heaven (tian) and related understandings like “son of heaven”, “mandate of heaven” etc., supllying them with legitimization of power. <br /> <br /> 然而，当王朝改变并且一个新的族群接管时，他们不能再宣称祖先是他们的亲戚，所以上帝的概念被天堂（天）和相关的理解所取代，如“天堂之子”，“任务”天国等等，用权力合法化来贬低他们。<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Although there were mythical divine creatures, the understanding of gods was not developed as distinct and authoritative as in Europe and Egypt. Egypt and Europe both further developed from multi theism to mono theism.<br /> <br /> 虽然有神话般的神圣生物，但对神的理解并没有像欧洲和埃及那样发展出独特和权威。埃及和欧洲都从多神论到单一神论进一步发展。<br /> <br /> 虽然有神话中的神创物，但对神的理解并没有像在欧洲和埃及那样发展得独特而权威。埃及和欧洲都从多神论进一步发展到一神论。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:21, 21 November 2020 (UTC)<br /> ----<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Theism established a layer of priests, occupying the role of mediators between god and men. Since every uncontrolled authority abuses its power, these mediators gained earthly wealth and took advantage of their control over people by abuse of their work force and even sexual abuse. <br /> <br /> 有神论建立了一套祭祀法则，成为了神与人之间调解者的角色。由于每个不受控制的权威都滥用权力，这些调解人获得了人间的财富，并利用他们对工作人员的滥用甚至性虐待来控制他们。<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> In Europe, the power was divided among the rulers and the church, represented by the pope, the cardinals, the bishops and the priests. <br /> <br /> 在欧洲，权力在统治者和教会之间分配，由教皇，红衣主教，主教和神父代表。<br /> <br /> 在欧洲，权力被统治者和以教皇、红衣主教、主教和神父为代表的教会所控制，并且被分享、分配。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:21, 21 November 2020 (UTC)<br /> <br /> 在欧洲，由统治者和以教皇，红衣主教，主教和神父为代表的教会掌控分配权力。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:55, 21 November 2020 (UTC)<br /> <br /> 在欧洲，统治者和以教皇，红衣主教，主教和神父为代表的教会分配权力。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 04:02, 21 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> Since religion in general claims to be valid for all of menkind, when new territories were discovered in East Asia and Africa, the missionaries tried to enlarge the territorium under their control by forcing locals to accept European religions and societal development models like modernization and economical development. <br /> <br /> 由于宗教一般声称对所有人都有效，当在东亚和非洲发现新的领土时，传教士试图通过迫使当地人接受欧洲宗教和现代化和经济发展等社会发展模式，来扩大其控制下的领土。<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> After the first missionaries arrived in China and saw that the exchange was positive for both sides, they also developed a motivation to keep the missionaries alive, which was a second motivation for them. <br /> <br /> 在第一批传教士抵达中国，并看到双方的交流是积极的之后，他们也发展了一种让传教士活动的动力，这是他们的第二个动机。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 07:47, 20 November 2020 (UTC)<br /> <br /> 在第一批传教士抵达中国后，并看到这种交流对双方来说都是积极的，他们也就产生了另一个动力，让传教士们积极活动。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:11, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Since the Christian religion is a religion revealed in divine texts, the missionaries had a strong motivation to find evidence in the classical Chinese texts that the Christian god also existed there. So among the first texts, they selected, translated and sorted were the canonized texts. A good example is the Daodejing which they translated in a distorted way, allowing them to proof the existence of the Christian god in China.<br /> <br /> 由于基督教是一种神圣文本中所揭示的宗教，传教士有强烈的动机在中国古典文本中找到证据，证明基督教的神也存在于那里。 因此，在第一批文本中，他们选择、翻译和排序的是册封文本。一个很好的例子就是《道德经》，他们以扭曲的方式翻译，使他们能够证明中国基督教神的存在。<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> This was the first major mistake, the attitude of Europeans to find evidence of their European god in Chinese roots. This attidtude lead to translation practises abandoning the basic rules of the profession: <br /> <br /> 这是第一个重大错误，即欧洲人在中国人根源中找到欧洲神的证据的态度。这种原因导致翻译实践放弃了专业的基本规则：<br /> <br /> 这是第一个重大错误，即欧洲人想寻找证据，证明自己的欧洲神明存在于中国人根源之中的这种态度。这种态度导致其在翻译实践中放弃专业的基本规则：--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:14, 21 November 2020 (UTC)<br /> <br /> 这是第一个重大错误，即欧洲人试图在中国根源中找到欧洲神的证据的态度。这种态度导致翻译实践放弃了专业的基本规则：--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 02:24, 21 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Terms, concepts and ideas sounding familiar were forcibly changed into the original European meaning. However, the published translations did only show a slight influence of this practise, the main translations, e.g. of the Daodejing first were not published, but discussed internally. <br /> <br /> 熟悉的术语、概念和想法被强制改变，具有原欧洲意义。但是，已发表的翻译并没有受太大影响，主要翻译，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 03:25, 19 November 2020 (UTC)Wu Zijia<br /> <br /> 为人熟知的术语、概念和想法被强制改变为原欧洲意义。然而，已发表的翻译作品仅受到了轻微影响。但主要的翻译作品，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:35, 20 November 2020 (UTC)<br /> <br /> 为人所熟知的术语、概念和思想，被迫改为原来的欧洲含义。然而，已发表的翻译只是受到了这种做法的轻微影响，但主要的翻译作品，如《道德经》最初没有出版，而是进行内部讨论。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:07, 20 November 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> The outcome of the discussion was that the deviations in the translations would have to go too far and ultimately that there was no proof of the Christian god in ancient Chinese texts. <br /> <br /> 讨论的结果是，翻译中的偏差必须走得太远，最终在中国古代文本中没有基督教之神的证据。<br /> <br /> 讨论的结果是，译本的偏差会太大，最终导致在古代中国文本中没有基督教上帝存在的证据。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:21, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Nonetheless, since then several missionaries, priests (Richard Wilhelm) and sinologists (Wolfgang Kubin) still tend to translate the Chinese concept of “heaven” into concepts familiar to Europeans like “god”. <br /> <br /> 尽管如此，从那时起，几位传教士，牧师（理查德威廉）和汉学家（顾彬）仍然倾向于将中国的“天堂”概念翻译成欧洲人熟悉的概念，如“上帝”。<br /> <br /> <br /> <br /> 尽管如此，从那时起，一些传教士、牧师(理查德·威廉)和汉学家(沃尔夫冈·库宾)仍然倾向于把中国的“天堂”概念翻译成欧洲人熟悉的概念，比如“上帝”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:26, 21 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> This is wrong and we as sinologists, apologize to the Chinese citizens for this eurocentric approach. We hope to overcome this historical mistake by cooperation with our Chinese colleagues.<br /> <br /> 这是错误的，我们作为汉学家，为这种以欧洲为中心的方法向中国公民道歉。我们希望通过与中国同事的合作修正这一历史错误。<br /> <br /> 这是错误的，并且作为汉学家，我们为这种以欧洲为中心的做法向中国公民道歉。我们希望通过与中国同事的合作来纠正这一历史错误。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 06:29, 20 November 2020 (UTC)Xiao Xi<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> All institutionalization develops inertia, the Chinese society was very instituionalized, therefore the Christianization in general failed. However, he secondary aims of the missions, to bring the European understanding of societal development (development of economy, health, education bringing about progress and modernization) were a success.<br /> <br /> 所有制度化都发展了惯性，中国社会非常机构化，因此基督教化总体上失败了。 然而，他的使命的次要目标，使欧洲对社会发展的理解（经济、健康、教育带来进步和现代化）的成功是成功的。<br /> <br /> <br /> 一切制度化都滋长了惰性，中国社会非常制度化，因此基督教化总体上失败了。然而，他的任务的第二个目标是，使欧洲人了解社会发展（经济、卫生、教育的发展带来进步和现代化），这个目标成功了。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:42, 20 November 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> The missionaries translated European books of knowledge into Chinese and therefore practically performed a knowledge transfer. Also the learning of foreign languages enhanced.<br /> <br /> 传教士将欧洲知识书籍翻译成中文，实际上不仅传递了知识，也提高了他们外语学习的能力。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:27, 20 November 2020 (UTC)<br /> <br /> 传教士将欧洲的知识书籍译成了中文，从而将知识的传递落到了实处。人们的外语学习能力也得到了提高。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:53, 21 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> During history, the authoritarian rule was replaced by democracies. In China, this was the case with the establishment of the Republic of China in 1912. During history, the power of the church was also restrained with protestant reformism.<br /> <br /> 在历史上，专制统治被民主取代。 在中国，1912年中华民国成立就是这种情况。在历史上，教会的权力也受到新教改良主义的制约。<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Religions are more or less tolerant regarding people believing in different religions or regarding atheists. Islam in average is less tolerant the Christianity. <br /> <br /> 宗教对于相信不同宗教或无神论者的人或多或少都是宽容的。平均而言，伊斯兰教对基督教的宽容度较低。<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Since two millenia, Europe has been dominated by Christianity and China mostly by ancestor worship, with a huge tolerance towards Buddhism, Daoism and other forms of religious practises. <br /> <br /> 自两千年以来，欧洲一直由基督教和中国主导，主要是祖先崇拜，对佛教、道教和其他形式的宗教活动有着巨大的容忍。<br /> <br /> ==Xu Jing 许静==<br /> <br /> 2. Stagnant China停滞的中国<br /> <br /> Times when international China watchers (scholars, philosophers) and China experts (merchants, missionaries, members of delegations, scholars) idealized China (Chinoiserie) and when they demonized her (stagnation, Yellow peril) followed each other. <br /> <br /> 国际中国观察家（学者、哲学家）和中国专家（商人、传教士、代表团成员、学者）理想化中国（中国风）以及妖魔化她（停滞、黄祸）的时代相互依存。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Western Sinology has long declared the &quot;stagnation&quot; in China as being “without an alternative” and as “being caused by Confucianism”. However, China showed a disruptive economical development since 1978, which proves this narrative wrong. Now also the Chinese &quot;economic miracle&quot; is explained by the Western sinologists with Confucianism. <br /> <br /> 西方汉学早就宣称中国的“停滞”是“没有其他选择”和“由儒学引起的”。 然而，自1978年以来，中国显示出飞速的经济发展，证明这种说法是错误的。 现在中国的“经济奇迹”也被西方汉学家用儒学解释了。<br /> <br /> 西方汉学早就宣称中国的“停滞”是“无法避免的”，“由儒学造成的”。然而，从1978年来，中国的经济出现了颠覆性的发展，证明这种说法是错误的。现在，西方汉学家又用儒学去解释中国的“经济奇迹”。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:00, 20 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> Now is the time for Western Sinology to admit its historical mistake and to overcome the eurocentric and racist dogma of “stagnation” by diversification. The exchange with Chinese colleagues like here at the congress offers a good opportunity to do so.<br /> <br /> 现在是西方汉学承认其历史错误、克服多元化“停滞”的欧洲中心和种族主义教条的时候了。在这里与大会上的中国同事交流提供了一个很好的机会。<br /> <br /> <br /> 现在，西方汉学应当承认自己的历史错误，并通过多样化来克服“停滞”的欧洲中心主义和种族主义教条。本次大会上与中国同事的交流为此提供了一个很好的机会。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 04:53, 20 November 2020 (UTC)Xu Pengfei<br /> <br /> 现在是西方汉学承认历史错误，通过多元化克服“停滞”的欧洲中心主义和种族主义教条的时候了。本次大会上与中国同事的交流提供了一个很好的机会。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:45, 20 November 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> With the overall turn from admiring China to demonizing China, also Hegel started to judge on China as a “stagnant” empire. <br /> <br /> 随着从钦佩中国到妖魔化中国的整体转变，黑格尔也开始判断中国是一个“停滞不前”的帝国。<br /> <br /> 从钦佩中国到妖魔化中国，黑格尔也开始认为中国是一个“停滞不前”的帝国。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:22, 20 November 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Although he found evidence that Confucius had invented the Golden Rule, he described China as the lowest stage of a stairways to the world Geist# with Berlin at the top. His condemnation of China was taken over by Marx who condemned China too. <br /> <br /> 尽管他发现了孔子发明黄金法则的证据，但他将中国描述为通往世界精神阶梯的最低阶段，而柏林位居榜首。他对中国的谴责也被谴责中国的马克思所接管。<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> There were several narratives establishing a Great Divergence or arguing for little divergences during the early stage of globalization. However, new rediscoveries of ancient Chinese translations of Western books of knowledge and new statistics of sugar consumption (which was for the most time higher in China than in Europe) question these narratives today.<br /> <br /> 在全球化的早期阶段，有几种叙述形成了一种大分歧或争论很少的分歧。 然而，中国古代西方知识翻译的新发现以及食糖消费的新统计数据（这在中国的时间比欧洲最高）在今天质疑这些叙述。<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''3. Western Sinologists as Red Guard作为红卫兵的西方汉学家'''<br /> <br /> Whenever science and scholarship serves an ideology or a religion, it gives up its objectivity and it betrays the fundamental principles of science and scholarship, e.g. the principle that you conduct research independantly without any predestined results and that you accept the results whatever they are.<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 你独立进行研究而没有任何预定结果的原则，你接受的结果无论它们是什么。<br /> <br /> 每当科学和学术服务于意识形态或宗教时，它就会放弃其客观性，并背叛科学和学术的基本原则，例如： 在你独立进行研究时，你可能会想要一个预定好的结果。你可能不太愿意接受不想要的答案。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:22, 20 November 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Sinologists and scholars of Chinese Studies are scholars who deal with the subject of China. To keep the distance, it is good that they are able to freely travel to and out of China in order to be able to change perspectives and to keep the distance.<br /> <br /> 中国研究的汉学家和学者是处理中国主题的学者。为了保持距离，他们能够自由地进出中国以便能够改变视角并保持距离。<br /> <br /> 汉学家和中国研究学者都是研究中国主题的学者。为了区分不同，他们能够自由进出中国，以便能够改变视角去研究不同方面，这是非常好的方法。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:44, 20 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> There was a time at the end of the 1960s, when the Western capitalism and establishment was challenged, initi-ated by images from the Vietnam war, dismantling the cruelty of war, where American soldiers used unfair tech-niques like chemical weapons against civilians in Vietnam. The photo of the naked children, scared to death from the napalm air strikes and running away in panic, changed the attitude of the people in the USA and in Europe against the institutionalized form of capitalism. Suddenly, the people, who were assured to be the “good ones” asked instead if they were the “bad ones” and had to change their systems towards peaceful coexistence. <br /> <br /> 20世纪60年代末，西方资本主义的形成和建立受到挑战，受到越南战争的影响。资本主义使战争看上去不那么残酷，美国士兵在越南对平民使用化学武器等不公平技术。看到裸体儿童的照片，看到他们在凝固汽油弹袭击中惊恐万分的模样，惊慌而逃的身影，改变了美国和欧洲人民对制度化资本主义的态度。 突然之间，那些发誓要成为“好人”的人们反而会质疑自己是否是“坏蛋”，并且不得不改变他们自己的方式以实现和平共处。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:13, 20 November 2020 (UTC)<br /> <br /> 20世纪60年代末，西方资本主义和建立受到越南战争的影响，摧毁了战争的残酷，美国士兵在越南对平民使用化学武器等不公平技术。 裸体儿童的照片，在凝固汽油弹袭击中惊恐万分，在恐慌中逃跑，改变了美国和欧洲人民对制度化资本主义形式的态度。 突然之间，那些被保证成为“好人”的人们反而要求他们是“坏人”，并且不得不改变他们的制度以实现和平共处。<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Western sinologist in the whole world were too ready to believe the propaganda of a successful “Great Proletari-an Cultural Revolution”. In 1961 Defense Minister Lin Biao instructed the army journal ''People’s Liberation Army Daily'' to print one saying of Mao each day. Sorted thematically, the first collection of these sayings was published in 1964. The little red book with sayings by Mao Zedong was printed more than 740 million times in China to supply every citizen with a copy. During its peak of popularity 1966-1971, it was the most printed book, it was printed in more than 30 languages more than a billion times. <br /> <br /> 全世界的西方汉学家都准备好相信成功的“无产阶级文化大革命”的宣传。 1961年，国防部长林彪指示军民报“人民解放军报”每天打印一篇毛泽东的语录。 按主题排序，这些说法的第一个集合于1964年出版。毛泽东的红宝书在中国印刷了7.4亿多次，为每个公民提供了一份副本。 在1966年至1971年的人气高峰期间，它是印刷最多的书，以超过30种语言印刷超过十亿次。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> 全世界的西方汉学家都不敢相信“伟大的无产阶级文化大革命”的宣传竟如此成功。1961年，国防部长林彪指示军队日报《人民解放军日报》每天刊登一篇毛泽东语录。按主题分类，这些语录的第一本合集于1964年出版。《毛泽东语录红皮书》在中国印刷了7.4亿多册，几乎人手一本。在1966至1971年间，该书的印刷量达到顶峰，被翻译成30多种语言，印刷超过10亿次。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:46, 20 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Jean-Luc Godard released his film “La Chinoise” in August 1967, displaying a youthful Parisian Maoist sect. This lead to a popularity of this ideology among Western experts of Chinese Studies.<br /> <br /> Jean-Luc Godard于1967年8月发行了他的电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。这导致了这种意识形态在西方中国研究专家中的流行。<br /> <br /> 让-吕克·戈达尔（Jean-Luc Godard）于1967年8月发行了电影《中国姑娘》，展示了一个年轻的巴黎毛派教派。随后，此意识形态在西方中国研究专家中流行。--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 06:31, 20 November 2020 (UTC) Zhang Weihong<br /> <br /> 1967年8月，让-吕克·戈达尔（Jean-Luc Godard）发布了其电影《中国姑娘》，电影中展示了一个年轻的巴黎毛派教派。随后，此意识形态在那些做中国研究的西方专家中流行开来。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 00:45, 21 November 2020 (UTC)<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Recently, Cambridge University Press published a collection of memories of how Western sinologists and young intellectuals have received and embraced Maoism in the 1960s and 1970s. <br /> <br /> 最近，剑桥大学出版社出版了一系列关于西方汉学家和年轻知识分子如何在20世纪60年代和70年代接受和信奉毛泽东思想的回忆。<br /> <br /> 最近，剑桥大学出版社出版了一系列回忆录，里面记录了西方汉学家和年轻知识分子如何在20世纪60年代和70年代就已接收并信奉毛泽东思想。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:19, 21 November 2020 (UTC)<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> John Gray in a book review has summarized main points of the book. I mostly follow his summary here. He de-scribes how French thinkers received this film:<br /> <br /> 约翰格雷在书评中总结了本书的要点。 我在此将列出他主要的总结。他描述了法国思想家如何评价这部电影：<br /> <br /> <br /> 约翰格雷在书评中总结了这本书的要点。 我将在此列出他主要的总结。他描述了法国思想家如何评价这部电影：--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 03:21, 20 November 2020 (UTC)<br /> <br /> 约翰·格雷在书评中总结了他这本书的主要观点。在这里，我主要是跟随着他的总结。他描述了法国的思想者是如何接受这部电影的：--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:25, 20 November 2020 (UTC)Yang Chenting<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> [Julian] Bourg: “Mao’s language of violence had a certain rhetorical appeal.” In fact, it was his combination of rhetorical violence with sub-Hegelian dialectical logic that proved so irresistible to sections of the French intelligentsia. Eulogising Mao’s distinction between principal and secondary contradictions, Louis Althusser deployed Maoist categories as part of an extremely abstract and, indeed, largely meaningless defence of “the relative autonomy of theory”. <br /> <br /> [Julian] Bourg：“毛泽东的暴力语言具有一定的修辞吸引力。”事实上，正是他将修辞暴力与次黑格尔辩证逻辑相结合，证明了法国知识分子的各个部分是如此不可抗拒。 颂扬毛泽东对主要和次要矛盾的区分，路易斯·阿尔都塞将毛派分类作为极其抽象的，实际上在很大程度上毫无意义地保护“理论的相对自治”的一部分。<br /> <br /> <br /> [Julian] Bourg:“毛泽东暴力语言具有一定的修辞吸引力。”事实上，正是他的修辞暴力与亚黑格尔的辩证逻辑相结合，对法国知识分子的各个部分来说是如此难以抗拒。 颂扬毛泽东对主要和次要矛盾的区分,路易·阿尔都塞将毛泽东主义者分类作为极其抽象的,实际上是对“理论相对自治”的毫无意义的辩护的一部分。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:46, 20 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> Althusser’s student Alain Badiou (for many years professor of philosophy at the École Normale Supérieure) continued to defend Maoism long after the scale of its casualties had become undeniable. As recently as 2008, while commending himself for being “now one of Maoism’s few noteworthy representatives”, Badiou praised Mao’s thought as “a new politics of the negation of the negation”. From one point of view, this stance is merely contemptible – a professorial pirouette around a vast pile of corpses. But one must bear in mind the fathomless frivolity of some on the French left. Already in 1980, two former Maoist mili-tants had announced their rejection of the creed in the language of fashion: “China was in . . . Now it is out . . . we are no longer Maoists.” Against this background, Badiou’s persistence is almost heroically ab-surd. <br /> <br /> 阿尔都塞的学生Alain Badiou（多年来在巴黎高等师范学院的哲学教授）在其伤亡人数不可否认之后很久就继续捍卫毛派。 就在2008年，尽管称赞自己是“现在是毛派少数几个值得注意的代表之一”，但巴迪欧称赞毛泽东的思想是“否定否定的新政治”。 从一个角度来看，这种立场仅仅是可鄙的 - 围绕着一大堆尸体的教授旋转。 但是人们必须牢记法国左翼一些人的无聊轻浮。 早在1980年，两位前毛泽东武装分子就已经宣布以时尚语言拒绝信条：“中国是在中国。。。 现在它出来了。。。 我们不再是毛泽东思想者。”在这种背景下，巴迪欧的坚持几乎是荒谬的荒谬。<br /> <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> Dominique Kirchner Reill has documented, that Maoist influence in Italy and Yugoslavia was even wider: <br /> <br /> Dominique Kirchner Reill证明，毛派在意大利和南斯拉夫的影响甚至更广：<br /> <br /> “In Italy Mao-mania was not purely a left-wing phenomenon. Some ultra-right groups quoted their Little Red Books to justify their arguments.” In 1968-73 the neo-fascist party Lotto di Popolo (“the people’s fight”) lauded Mao as an exemplary nationalist and resolute opponent of US global hegemony. <br /> <br /> “在意大利，毛派狂热者不仅仅是一种左翼现象。 一些极权团体引用他们的红宝书为他们的论点辩护。“1968-1973年，新法西斯政党Lotto di Popolo（”人民的斗争“）称赞毛泽东是美国全球霸权的模范民族主义者和坚决反对者。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> In a footnote he observes <br /> 在他的脚注中，他注意到：<br /> <br /> “Nazi-Maoist movement in Italy included many other figures and groups” besides the Lotto di Popolo. <br /> <br /> 除了Lotto di Popolo之外，“意大利的纳粹毛派运动包括许多其他人物和团体”。<br /> <br /> Gray beklagt#: “It is a pity this aspect of Mao’s influence is not explored in greater detail.” One of the reasons may be that the generation of Maoist sinologists later were the ones to document their own history, the history of sinologists, but they never came to terms with it, very much like the 1960s activists with sympathy for the German “Red Army Fraction”, who later became part of the establishment, even ministers in the government, and did not want to be reminded of their past.<br /> <br /> 灰色beklagt＃：“遗憾的是，毛泽东影响力的这一方面没有得到更详细的探讨。”其中一个原因可能是后来毛派汉族的一代人要记录他们自己的历史，也就是汉学家的历史，但是 他们从来没有接受过它，非常像20世纪60年代积极分子同情德国“红军分数”，后来成为该组织的一部分，甚至是政府的部长，并且不想被提醒他们的过去。<br /> <br /> 在他的脚注中，他表示，参与者除了Lotto di Popolo外，“意大利纳粹毛派运动还包括许多其他人物和团体”。<br /> Gray beklagt#表示：“遗憾的是，在这个层面，毛泽东的影响未得到更细致的探讨。”其中一个原因可能是，后来的毛泽东思想汉学家只记载他们自己的历史，即汉学家的历史。他们从不接受毛泽东思想，这就很像二十世纪六十年代的积极分子同情德国“红军纵队”。该纵队的人后来成为该组织的一部分，有的甚至还成了政府机关部长。这些汉学家不想回忆起自己的历史。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 04:18, 20 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Gray writes in his book review: 格雷在他的书评中写道：<br /> <br /> “In a programmatic introductory essay Alexander C Cook compares the Chinese leader’s book to a “spir-itual atom bomb” and considers its global fallout. Showing how it reflects the influence of the choral sing-ing introduced into China by 19th-century Christian missionaries, Andrew F Jones provides an illuminating account of the rise of the Maoist pop song. Taking as her starting point the global distribution of the Little Red Book to over a hundred countries in the eight months between October 1966 and May 1967, Xu Lanjun examines the process of translation in the context of Maoist ideas of global revolution. Quinn Slo-bodian discusses the impact the book had in eastern and western Germany. In the concluding essay, Ban Wang considers the Little Red Book and “religion as politics” in China. Elsewhere, its influence in Tanzania, India, Peru, Albania and the former Soviet Union is discussed.”<br /> <br /> “在一篇程序化的介绍性文章中，亚历山大·库克将中国领导人的书与“精神原子弹”进行了比较，并考虑了它的全球影响。 安德鲁·F·琼斯（Andrew F Jones）展示了它如何反映19世纪基督教传教士引入中国的合唱歌曲的影响，为毛泽东主义流行歌曲的兴起提供了一个有启发性的说明。 在1966年10月至1967年5月的八个月中，徐兰军以红宝书的全球分布为一百多个国家，在毛泽东的全球革命思想背景下考察了翻译的过程。 Quinn Slobodian讨论了该书在德国东部和西部的影响。 在最后的文章中，王班并认为红宝书和中国的“宗教为政治”。在其他地方，讨论了它在坦桑尼亚、印度、秘鲁、阿尔巴尼亚和前苏联的影响。”<br /> <br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> “In West Germany in the late 1960s, the Little Red Book “resembled simultaneously an accessory of the classical workers’ movement and a modish commodity of the educated elite”. In theatres, across from the refreshments, there were glass cases “full of pretty red Mao bibles (two Deutsche Marks each)”. As an anti-consumerist commodity, the book became “a marker of social distinction within a commercial market”.”<br /> <br /> “在20世纪60年代后期的西德，红宝书”同时也是古典工人运动的一部分，也是受过教育的精英的一种时尚商品”。 在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。 作为一种反消费主义商品，这本书成为“商业市场中社会区别的标志”。”<br /> <br /> “在20世纪60年代后期的西德，（毛泽东的）红宝书“是古典工人运动的读物，同时也是教育良好的精英阶层中的畅销书。”在茶馆对面的剧院里，有一些玻璃盒子“里面装满了漂亮的红宝书（每个都有两个德国马克）”。作为一种反消费主义的商品，这本书成为了“商业市场中社会差异的标志”。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> “Condemned as distorting Mao’s ideas and exerting a “widespread and pernicious influence”, the book was withdrawn from circulation in February 1979 and a hundred million copies pulped.”<br /> “这部书被谴责为歪曲毛泽东的思想并发挥“广泛而有害的影响”，于1979年2月撤销流通，并且有数亿份纸张被废弃。”<br /> <br /> “这本书受到了人们的谴责，认为书中歪曲了毛泽东的思想，并带来“广泛而有害的影响”，因此，该书于1979年2月停止发行，数亿份书籍被废弃。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:20, 20 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> The popularity of the Chinese system in the West was at the peak when it had the most victims.<br /> <br /> 中国体制在西方的受欢迎程度因其最多的受害者而达到了峰值。<br /> <br /> 当受害者人数最多时中国制度在西方的受欢迎程度达到顶峰。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> Today, even in China, the Cultural Revolution is evaluated as “10 Years of Chaos”. Mao Zedong’s approach to mobilize the masses in endless revolutions turned out to be a historical failure. <br /> <br /> 今天，即使在中国，文化大革命也被评为“十年动乱”。 毛泽东在无休止的革命中动员群众的方法被证明是历史性的失败。<br /> <br /> 今天，即使在中国，文化大革命也称为“十年动乱”。毛泽东发动群众进行无休止革命的做法被证明是历史性的失败。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:29, 21 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> However, domestic Science and Scholarship today once more receives incentives to pretend an ideological use-fulness of their research results when applying for funds to conduct research projects. However, an independant science and scholarship serves any government best, because a government needs real and true research results, not sugar coated ones.<br /> <br /> 然而，今天的国内科学和奖学金再次获得激励，在申请资金进行研究项目时，假装其研究成果具有意识形态的有用性。 然而，独立的科学和奖学金最适合任何政府，因为政府需要真实和真实的研究结果，而不是糖衣。<br /> <br /> 然而，如今国内学科及奖学金再次受到鼓励，要求在申请项目研究资金时伪称其研究结果具有意识形态有用性。但由于政府需要真实准确的研究结果，而非华而不实的研究结果，一项独立的学科及奖学金对任何政府都是绝佳选择。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:59, 21 November 2020 (UTC)<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Freedom is always the freedom within the limits not to restrict the freedom of others. But this historical event posed a new question: When is it time to kill a massmurderer? If communism threatens to enslave a whole population with millions of death victims – how far is it justified to intervene or not to intervene? But when it is not just a mass murderer, but a whole group of people mislead by a leader, a whole administration of a country, how can you clearly differentiate between good and evil? Reality often consists out of different levels of grey.<br /> <br /> 自由永远是限制的自由，而不是限制他人的自由。但这一历史事件提出了一个新问题：什么时候杀死一名群众？ 如果共产主义威胁到全世界数百万死亡受害者的奴役 - 干预或不干预到底有多大理由？ 但是，当它不仅仅是一个大规模杀人犯，而且还是一群人误导领导者，一个国家的整个政府时，你怎么能清楚地区分善恶呢？ 现实通常由不同级别的灰色组成。<br /> <br /> 自由永远是在不限制他人自由的范围内的自由。但是这一历史性事件向我们提出了一个新的问题：什么时候应该杀死一个杀人凶手？如果共产主义威胁要奴役数以百万计的死亡受害者，那么进行干预或不进行干预的合理性有多大差别？但是，当它不仅是一个大规模杀人犯，而且是一群人被一个领导人，一个国家的整个政府误导时，该如何清楚地区分善与恶？现实通常是由不同层次的灰色组成的。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:28, 20 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> 湖南师范大学洪堡跨学科研究中心<br /> <br /> Humboldt Center for Transdisciplinary Studies at Hunan Normal University<br /> <br /> 揭牌仪式<br /> <br /> Launch Ceremony<br /> <br /> 2020年9月14日<br /> <br /> September 14, 2020<br /> <br /> I congratulate the Humboldt Center for Transdisciplinary Studies 洪堡跨学科研究中心 for its opening at Hunan Normal University and especially my German colleague and Humboldt expert Professor Ottmar Ette奥特玛·埃特教授 for his dedication to realize the Center. Ette is one of the leading experts about Humboldt, in 2014-2017 he was responsible for the part “Genealogy, Chronology, Epistemology” of the BMBF research project about Humboldt in the United States.<br /> <br /> 祝贺湖南师范大学洪堡跨学科研究中心成立，尤其感谢我的德国同事、洪堡专家奥特玛·埃特教授为中心的建成所做的贡献。埃特教授是研究洪堡的主要专家之一，2014-2017年，他负责美国BMBF关于洪堡研究项目中“系谱、年代学、认识论”的部分。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 03:56, 21 November 2020 (UTC)<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> The Center has the best starting conditions: It is backed by the University Potsdam and the Berlin-Brandenburg Academy of Sciences and Humanities 柏林-勃兰登堡科学与人文学院, which spon-sors a 18 year long research project until 2033 “Science on the Move” about Humboldt, lead by Prof. Ette.<br /> <br /> 该中心拥有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持的，该基金会资助了一项由埃特（Ette）教授领导，历时18年，一直进行到2033年，即关于洪堡“移动中的科学”的研究。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 13:54, 20 November 2020 (UTC)<br /> <br /> 该中心具有最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院提供支持，该基金会赞助了直到2033年一项长达18年的研究项目，即“洪堡运动科学”，由埃特教授领导。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> 该中心具备最佳的启动条件：它由波茨坦大学和柏林-勃兰登堡科学与人文学院共同支持。直到2033年，该基金会一直赞助这一历时18年的研究项目，即埃特教授领导的“洪堡运动科学”研究。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:48, 21 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> The Center could not have found a better Chinese partner: This new Center is opened at a Hum-boldian University, with a long tradition in transdisciplinary research and teaching, with chancel-lor Professor Jiang Hongxin 湖南师范大学党委书记蒋洪新教授, who is not only an internation-ally renowned scholar in English literature, but also the driving factor behind the internationaliza-tion and opening up of Hunan Normal University.<br /> <br /> 洪堡跨学科交流中心找到了最佳的中国合作伙伴——湖南师范大学。该中心设立在洪堡大学，洪堡大学在跨学科研究和教学领域有着悠久的历史。湖南师范大学党委书记蒋洪新教授不仅是国际知名的英语文学学者，也是湖南师范大学国际化、对外开放的带头人。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 06:29, 20 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> The success of Hunan Normal University is displayed in the rising position in the university rank-ings, in the number of study programs ranking top nationwide, in the growing community of in-ternational experts working at Hunan Normal University, in international cooperations, joint school projects etc. Also the staff working at the Center are ideally chosen, Ren Haiyan 中心副主任任海燕博士, who is familiar with English literature of the 18th century, Fan Ni, who is currently building up the German Department as well as Li Yaqin.<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> <br /> Changsha is both the place of one of the earliest universities in China, founded in 976 CE, the Yuelu Academy 岳麓书院, and together with its attached High School, Hunan Normal University and its Foreign Studies College founded by Qian Zhongshu is famous for its history of educating leaders with a thinking outside of the box. Similarly, Humboldt has said: “How a person masters his fate is more important than what his fate is.” This is just what Humboldt fought for. Humboldt is famous not just in Germany and Europe, but also in the United States, Russia, Asia and world-wide. He shaped our understanding of universities, research, teaching and education. Today, it is safe to say that the German universities are Humboldian universities, also European ones, Ameri-can ones and certainly also Hunan Normal University.<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> When Humboldt traveled Central Asia and wrote about China, he certainly never would have dreamed of the realization of such a Center to his honor in Changsha. However, he would have been overwhelmed and would see his dreams realized here. With this Research Center it is now possible to explore the relation of Humboldt and China in great detail. Moreover, the relation between China and Europe can be explored here from a transdisciplinary perspective. Coopera-tion is key. With Humboldt’s words: “Collaboration operates through a process in which the suc-cessful intellectual achievements of one person arouse the intellectual passions and enthusiasms of others.”<br /> <br /> 当洪堡游历中亚，写到中国时，肯定做梦也想不到长沙会是实现他梦想中荣耀的地方。但那样的话，他虽会看到自己实现梦想，也会不堪重负。现在有了这一研究中心，我们可以更详细地探讨洪堡与中国的关系。而且，可以从跨学科的角度来探讨中欧的关系。其关键是合作。正如洪堡所说:“合作是是通过一个人的智慧成就激发其他人的智力激情和热情来实现的”<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> As Jean Monnet Chair of Hunan Normal University 欧盟“让•莫内讲席教授” and as the direc-tor of the International Chinese Studies Center at Foreign Studies Center I reach out with both hands to the new Center and offer to bring in European and Chinese networks, to start immediate and concrete joint research. <br /> <br /> I close with a final quote from Humboldt: “The most dangerous worldview is the worldview of those who have not viewed the world.” Therefore, the Center now allows scholars from other places in the world to see China and offers Chinese colleagues a bridge to Europe and interna-tional scholarship.<br /> <br /> And I wish the Humboldt Center for Transdisciplinary Studies great success!<br /> <br /> 作为湖南师范大学欧盟“让•莫内讲席教授”以及外国研究中心国际汉语研究中心主任的让·莫内主席，我两手准备着新的中心，并提议向欧洲和中国引进网络，以开始目前的具体的联合研究。<br /> <br /> 最后，我引述洪堡的最后一句话：“最危险的世界观是那些没有看过世界的人的世界观。” 因此，该中心欢迎来自世界各地的学者参观中国，并为中国同事搭建通往欧洲和国际奖金的桥梁。<br /> <br /> 祝洪堡跨学科研究中心取得圆满成功！--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:35, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> MARTIN WOESLER<br /> <br /> '''THE CHINESE PRODUCTION CULTURE<br /> <br /> Genuity, changes and compatibility with modern international production culture'''<br /> <br /> '''中国制造哲学'''<br /> <br /> 原始传统、变化和对现代国际制造文化的兼容<br /> <br /> 吴漠汀著<br /> <br /> 歐洲大學出版社2011年<br /> European University Press 2011<br /> <br /> Content<br /> <br /> Modern Chinese Production Culture<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> Cultural approach<br /> <br /> National Cultures<br /> <br /> Approaches/Perspectives <br /> <br /> The Japanese Production Culture<br /> <br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> China - Factory of the world<br /> <br /> 中国——世界工厂<br /> <br /> Genuity of Chinese production culture<br /> <br /> Made in China<br /> <br /> 中国制造<br /> <br /> Characteristics of Chinese production culture<br /> <br /> 中国商品文化的特征<br /> <br /> Shapes of modern Chinese production culture and their causes<br /> <br /> 现代商品文化的形成及其原因<br /> <br /> Necessity is the mother of invention<br /> <br /> 创造始于需要<br /> <br /> Changes in the Chinese production culture<br /> <br /> 中国商品文化的发展<br /> <br /> Roles in the Chinese production culture<br /> <br /> 中国商品文化的作用<br /> <br /> The Intermezzo of Socialism from 1949-1979<br /> <br /> 1949-1979年社会主义的插曲<br /> <br /> Gaming in the Chinese production culture<br /> <br /> 中国商品文化的博弈<br /> <br /> Effects on the company<br /> <br /> 对公司产生的影响<br /> <br /> Where is modern Chinese management and production culture (CMPC) an international role model?<br /> <br /> 中国现代经营理念和商品文化是全球的标杆，这一点体现在哪里？<br /> <br /> Logistics<br /> <br /> 物流<br /> <br /> Appendix: References <br /> <br /> 附录：参考文献<br /> <br /> Appendix: Historical Timeline China<br /> <br /> 附录：中国历史时间轴<br /> <br /> Index<br /> <br /> 索引<br /> <br /> '''Modern Chinese Production Culture<br /> <br /> 中国现代商品文化<br /> <br /> Does this global factory provide a model for an international production culture?<br /> <br /> 中国作为全球工厂是否为国际商品文化树立标杆？--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:38, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> In the aftermath of the Second World War, the Japanese economy lacked the finances for new machinery and, in consequence, decision-makers concentrated on optimizing existing resources and processes. Soon lean production, just in time production and quality circles became export hits, even though Japanese production culture in many ways remained typically Japanese - for instance on issues such as hierarchy and loyalty on the part of employees. Today, the modernity of a factory is measured by the extent to which these characteristics of Japanese production culture are put into practice. After the Second World War, this approach developed into a model for an international production culture.<br /> By the beginning of the 21st century, the Chinese economy had surpassed that of Japan;<br /> <br /> 二战后，日本财政无力支撑新型制造业的发展，决策者只能大力利用已有的资源和工艺技术。尽管日本的制造文化在许多方面仍然具有典型的日本特征，比如等级制度以及雇员的忠诚度等问题，但很快，精益生产以及品质圈成为出口热门。而今，日本制造文化应用于实践的程度是衡量工厂现代化程度的重要标准。二战后，这种方法成为一种典型的国际制造文化。<br /> 到了21世纪初，中国经济超越了日本。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:21, 20 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> today, China is a global factory. This subproject analyzes and defines the &quot;Chinese production culture“ and focuses on the question of whether any of its modern characteristics can serve as a model for international production culture. Based on surveys by Hofstede (2009), case studies by Hong/Pöyhönen/Kyläheiku (2006) and on fundamental thinking of Philip Huang, the project takes as its premise that the development of Chinese production culture falls into different historical periods: from the genuinely Chinese production culture of silk, china and tea production over the slumbering industrial revolution, the import of Western manufacturing culture, the building of larger production units in the socialist a tradition, to today’s mixed production culture with Japanese and Western elements.<br /> <br /> 如今，中国是一个“世界工厂”，本子项目对“中国生产文化”进行了分析和界定，并着重探讨了中国生产文化的现代特征是否可以作为国际生产文化的典范这一问题。该项目基于霍夫斯特德（2009年）、洪/佩赫宁/凯莱海库（2006年）的案例研究和黄菲浦的基本思想，以中国生产文化发展为前提，从不同的历史时期进行探讨：从沉睡的工业革命时期真正的中国丝绸、瓷器、茶叶生产文化，西方制造文化的进口，社会主义传统中大型生产单位的建设，到当今中日两国混合生产文化与日西元素的混合。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:02, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> But still today's production culture comes with some genuinely Chinese characteristics: the Confucian understanding of the relation boss - team leader – employee, hierarchy, the concept of face (and critique), the informal network management in the decision finding process, the esteem for the concept of age, nepotism, the play instinct (including imitation), flexibility and speed. This subproject explores which of these elements are exportable in principle and which ones can be profitably implemented within international production cultures.<br /> <br /> 但今天的生产文化仍然具有一些真正的中国特色：儒家对老板-团队领导-员工关系的理解、等级、脸观（和批评）、决策查找过程中非正式的网络管理、对年龄概念的尊重、裙带关系、游戏本能（包括模仿）、灵活性和速度。此子项目探讨哪些元素原则上是可输出的，哪些元素可以在国际生产文化中有利可图地实现的。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 06:12, 20 November 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> '''Cultural approach'''<br /> 文化方法<br /> <br /> As a cultural scientist, the author of this script applies the approach of Cultural Science to describe economical cultures or subcultures. One of the subcultures of economical culture is the way or culture of management and production.<br /> <br /> 作为文化科学家，该脚本的作者运用文化科学的方法来描述经济文化或亚文化。 经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> <br /> 作为一名文化科学家，本文作者运用文化科学的方法来描述经济文化或亚文化。经济文化的亚文化之一是管理和生产的方式或文化。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> After a phase of several decades in which mathematics has found its way into economics, cultural studies has also been rediscovered by economics in recent years.Cultural studies can be a helpful supplement, for example, when predictions for economic behavior need to be made, for example in models. The economic sciences initially contribute Homo oeconomicus, the self-interest maximizer. In recent years, especially since 2000, many experiments have shown that humans often behave diametrically opposed to self-interest:<br /> <br /> 经过几十年的数学进入经济学的阶段之后，近年来文化也被经济学重新发现了，例如当需要对经济行为进行预测时， 比如在一些模型中，文化研究可以作为有益的补充。经济科学起初是对自利最大化者经济人的贡献。 近年来，尤其是自2000年以来，许多实验表明，人类的行为常常与自我利益截然相反：--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:44, 20 November 2020 (UTC)<br /> <br /> 经过几十年的数学进入经济学的阶段后，近年来经济学也重新发现了文化研究。例如，当需要对经济行为进行预测时，比如在模型中，文化研究可以是一种有益的补充。经济科学最初贡献了“经济人”，即利己最大化者。近年来，特别是自2000年以来，许多实验表明，人类的行为往往与自身利益截然相反:--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:08, 20 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> '''Case 1) The bag of oranges'''<br /> <br /> Initial situation: An orange seller sells bags of oranges to tourists. He has a few rotten oranges that he could put in the bags at the bottom. The tourists would not notice it when buying and would not go to this place again because of a few rotten oranges. <br /> <br /> Behavior: He does not do it, however, but throws the rotten oranges away.<br /> <br /> Cultural-scientific explanation: In the present case, the merchant is thus ethically-morally socially responsible out of a sense of justice. <br /> <br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> One can try to construct a self-interest with the help of neurobiology: Biology leaves him no choice - if he behaves justly, although he might behave unjustly, he is rewarded with dopamine and other happiness hormones. If he were to behave unfairly at all times, he would have a guilty conscience, coupled with the fear of being caught, and sooner or later he might get stomach ulcers. In the long run, acting justly secures his life statistically better, also with regard to the economic value of his own life. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> However, if you ask the orange seller, he will at best say that it would be unfair to cheat his customers. Of course, there will always be a small number of fraudulent orange sellers in such experiments who value short-term profit more highly than long-term physical damage, if they expect it at all. And they will perhaps adopt a world view to avoid a guilty conscience, such as that rich tourists should give some of their wealth to poor orange sellers. And there will be people who cannot distinguish right from wrong due to a corresponding anatomically detectable defect in the reward system. <br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> The following experiments are some of the classic and most frequently conducted and tested experiments to complement the maximization of self-interest:<br /> <br /> '''Case 2) Ultimatum game: share 10 Euros'''<br /> <br /> Initial situation: A student in Bonn is offered 10 €. The only condition: He has to give any partial amount to his fellow student. His fellow student has the right either to accept the amount allocated to him or to refuse to accept the whole 10 € for him and his fellow student. <br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Prediction according to the self-interest maximization: The first student will keep 9,99 € and give 0,01 € to the fellow student. The fellow student would have to accept the 0.01 €, as this is more than 0.00 €.<br /> <br /> Conduct: In fact, about 90% of the students in similarly conducted experiments worldwide give 5 € to their fellow student. In the few cases in which the students want to give 2 € to their fellow student and keep 8 €, the fellow student refuses the 10 € completely, and so both go away empty-handed.<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The maximization of self-interest cannot explain the behavior in both situations. Here, cultural studies provide an explanation that is supported by neurobiologists. <br /> <br /> Cultural studies explanation: <br /> <br /> For the fellow student, relative justice is more important than his own absolute gain. If the student takes more for no reason, there are various reasons not to allow this, e.g. educational. Furthermore, this is a decision under observation and the reward system rewards behavior in the sense of justice all the more, if justice has to be bought even with one's own loss. <br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Neurobiologists also explain that men consider a constellation such as this experiment like a zero-sum game and feel a sense of competition, i.e. they see the greater gain of the other as a loss for themselves.<br /> <br /> By the way, the environment also influences the degree of self-maximization against a sense of justice: <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> '''Case 3) Bank bill in letter'''<br /> <br /> If one lets a 5 Euro bill shine through the window of an envelope that is half hanging out of the mailbox, 4 out of 10 unobserved passers-by will grab it. If you paint a graffiti on the wall next to the mailbox and put some garbage next to the mailbox, 8 out of 10 unobserved passers-by will access it.<br /> <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Case 4) Primates<br /> <br /> Behavioral researchers have successfully demonstrated homo economicus in primates: There chimpanzees help each other to get shared food. If the first chimpanzee has the opportunity to give both of them the same amount or more food, it will give as much food as possible.<br /> <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Of course, the assumption of self-interest is a reasonable approach to explain phenomena in economic life, since companies are primates in many things, but in marketing they want to appear inwardly and outwardly as human, with social responsibility and a sense of justice. The Chinese Management and Production Culture (CMPC) has a clear distribution of power in the hierarchy, which corresponds to the maximization of self-interest, but the boss has a stronger responsibility towards his employees, which also includes private areas, so that there is an above-average social component.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> References<br /> <br /> Häring, Norbert: „''Der Homo oeconomicus ist tot''“, in: Financial Times Deutschland (14.3.2001) http://ockenfels.uni-koeln.de/download/press/ftd-14032001. pdf<br /> <br /> Schlicht, Ekkehart: „''Der homo oeconomicus unter experimentellem Beschuß''“, in: Martin Held, Gisela Kubon-Gilke &amp; Richard Sturn (Hrsg.): ''Experimente in der Ökonomik. Jahrbuch normative und institutionelle Grund-fra¬gen der Ökonomik 2.'' Metropolis-Verlag, Marburg 2003, ISBN 3-89518-414-4, http://www.semverteilung.vwl.uni-muenchen.de/mitarbeiter/es/paper/schlicht-homo-oeconomicus.pdf<br /> <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> '''National Cultures''' <br /> <br /> Cultural differences decrease as the world becomes globalized. National characteristics become blurred, companies have to operate in different locations worldwide and sell their products in different markets.<br /> <br /> Nevertheless, there are historically grown traditions that come from a time when there was often already intensive global trade, but less intensive cooperation and less exchange of information.<br /> <br /> '''民族文化'''<br /> <br /> 随着世界全球化，文化差异减少。民族特征变得模糊起来，企业不得不在全球各地运营和在不同市场上销售产品。尽管如此，仍有传统沿着历史发展至今，那时全球贸易虽然已经十分密集，但密切合作更少，信息交流也更少。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 08:51, 20 November 2020 (UTC)Zou Xinyu<br /> <br /> 随着世界日益全球化，文化差异减少。民族特征也变得模糊起来，企业需在全球各地运营并将其产品销往各国市场。尽管如此，仍有传统沿着历史发展保留至今，那时全球贸易虽已十分频繁，但密切的合作以及信息的交流远不如今。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:38, 20 November 2020 (UTC)<br /> <br /> 全球化程度愈深，文化差异愈少。民族特色模糊起来，企业需要在世界范围内运营，其生产的产品也将销往世界各地。但是，仍有传统沿袭历史发展至今，那时国际贸易已十分频繁，但合作及信息交流远不及今。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 13:13, 20 November 2020 (UTC)</div>

Wu Kai https://bou.de/u/index.php?title=20201116_trans&diff=104267 2020-11-14T12:04:10Z

<p>Wu Kai: /* Peng Yuzhi 彭育志 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''WOESLER, Martin'''<br /> <br /> '''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''<br /> <br /> '''The Waves of the Stone –''' <br /> <br /> '''Early Reception Between Instrumentalization and Exoticization'''<br /> <br /> '''Abstract'''<br /> <br /> The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).<br /> <br /> ==Chen Han 陈涵==<br /> <br /> '''Key words'''<br /> <br /> Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation<br /> <br /> '''First (unproven) experiences of young Cao Xueqin with foreign literature'''<br /> <br /> In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> &quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &quot;dragon and phoenix&quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&quot;.[ Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]<br /> 主人是热情好客的化身，并且经常当场创作诗歌以示融洽。作为回应，我的祖父也会分享圣经讲道，并对莎士比亚戏剧作了图形叙述。他的观众往往只有青少年和女性。曹雪芹那骄纵的儿子由于偷听，遭到了曹先生的鞭打和斥责。[菲利普·温斯顿：《龙的帝国》，道格拉斯 1874,53页。引自Wu Xinlei, HuangJinde &quot;Cao Xueqin Jiangnan Family History&quot;, Fujian People's publishing House,1983,304页,103-104页。 还引自：Yau-Woon Ma &quot;&quot;Facts and Ideas: Historical Commentary on Chinese Fiction&quot;, Lianjing Publishing Co.,LTD,2007, P384. 还引自：Zhou Ruchang &quot;A New Biography of Cao Xueqin&quot; Foreign language Press(1992)²1997, 353页。101页。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:02, 14 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.<br /> <br /> '''Status of the book before its publication'''<br /> <br /> Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> <br /> <br /> The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.<br /> <br /> The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.<br /> <br /> ==Chen Sha 陈莎==<br /> <br /> '''From inofficial manuscript versions to the printed book'''<br /> <br /> One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. <br /> <br /> Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> “One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp; Co. 1900, 386 pp., here p. 109.]<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> '''Preparations of the 1st book edition'''<br /> <br /> Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). <br /> <br /> According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.<br /> <br /> ==Cheng Yusi 成于思==<br /> <br /> In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.<br /> <br /> Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> '''1st Book edition 1791:''' 程甲本 Cheng A edition<br /> <br /> According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> '''2nd Book edition in 1792:''' 程乙本 Cheng B edition<br /> <br /> A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.<br /> <br /> The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.<br /> <br /> 很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。<br /> 小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. <br /> <br /> ==Gong Yumian 龚钰冕==<br /> <br /> '''Spreading to Japan and Korea'''<br /> <br /> Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]<br /> <br /> There were early (partial) translations of the novel into Manchurian.<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> '''Early Western notions of the book'''<br /> <br /> The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. <br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: <br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] <br /> <br /> ==Guo Lu 郭露==<br /> <br /> Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[ 《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] <br /> <br /> ==Han Haiyang 韩海洋==<br /> <br /> Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.<br /> <br /> The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. <br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> '''Early translation history in the West'''<br /> <br /> In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ “Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]<br /> <br /> ==He Changqi 何长琦==<br /> <br /> These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. <br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ Yang 1980 3:621-622.]<br /> <br /> ==Hu Huifang 胡慧芳==<br /> <br /> '''Early Misunderstandings'''<br /> <br /> Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ “''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.<br /> <br /> 在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ “HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]<br /> <br /> 此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> '''Early Reception of the novel in the West'''<br /> <br /> We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).<br /> <br /> ==Jiang Hao 姜好==<br /> <br /> One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. <br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: <br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> - exoticism (J. Davis, Barrow, Bruguière)<br /> <br /> - the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)<br /> <br /> - polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)<br /> <br /> - to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)<br /> <br /> <br /> In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).<br /> <br /> - 异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> - 中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）<br /> <br /> - 通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）<br /> <br /> - 证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）<br /> <br /> 在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)<br /> <br /> <br /> -异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> -中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）<br /> <br /> -通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）<br /> <br /> -证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）<br /> <br /> <br /> 在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:15, 14 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> <br /> However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.<br /> <br /> Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> '''Motifs for judgements'''<br /> <br /> As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.<br /> <br /> There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.<br /> 判断的主题<br /> 作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。<br /> 随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)<br /> <br /> 判断主题<br /> 上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。<br /> 随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> '''The novel title'''<br /> <br /> The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ „Traumgesicht auf dem rothen Thurm“, see&gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].<br /> <br /> <br /> '''小说名'''<br /> <br /> 书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.<br /> <br /> 许多学者都讨论过这样一个问题，即这部小说是否应该叫 &quot;石头的故事 &quot;而不是 &quot;红楼梦 &quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &quot;也叫&quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)<br /> <br /> 许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi<br /> <br /> 一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Li Haiquan 李海泉==<br /> <br /> Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. <br /> <br /> ==Li Lili 李丽丽==<br /> <br /> There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.<br /> 有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili<br /> <br /> 有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.<br /> 为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> '''80 or 120 chapters'''<br /> <br /> The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.<br /> <br /> “80章还是120章”<br /> <br /> 第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)<br /> <br /> '''80章还是120章'''<br /> <br /> 第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.<br /> <br /> '''Deviations from the original'''<br /> <br /> Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.<br /> <br /> ==Li Meng 李梦==<br /> <br /> Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.<br /> <br /> '''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''<br /> <br /> This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.<br /> <br /> 程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。<br /> <br /> 程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。<br /> <br /> Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.<br /> <br /> ==Li Yu 李玉==<br /> <br /> The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. <br /> <br /> ==Lin Min 林敏==<br /> <br /> Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.<br /> <br /> ==Liu Bo 刘博==<br /> <br /> Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.<br /> <br /> The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.<br /> <br /> In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.<br /> <br /> This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> '''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''<br /> <br /> In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:<br /> <br /> 程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.<br /> <br /> Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> <br /> 明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.<br /> <br /> Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.<br /> <br /> In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… <br /> <br /> We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. <br /> <br /> In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.<br /> <br /> The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game” for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.<br /> <br /> <br /> '''Sequels'''<br /> <br /> Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> '''Spreading of the novel to Russia'''<br /> <br /> In 1832, a member of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员) brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. <br /> <br /> '''Reevaluation in Late Qing and status in the Cultural Revolution'''<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> Wang Guowei improved the status of the novel since 1885, he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. <br /> <br /> During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.<br /> <br /> '''Spreading in Germany'''<br /> <br /> The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols. Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. <br /> <br /> '''References'''<br /> <br /> [Please refer to the full bibliographic references in the footnotes for now.]<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> '''Report'''<br /> <br /> '''3rd International Dream of the Red Chamber Conference in Europe'''<br /> <br /> ''Martin Woesler''<br /> <br /> On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. <br /> <br /> ==Meng Ying 孟莹==<br /> <br /> In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> <br /> Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. <br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.<br /> <br /> In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.<br /> <br /> 玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。<br /> <br /> 在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling<br /> <br /> 玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。<br /> <br /> 在第三板块 &quot;跨学科/跨文本方法 &quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. <br /> <br /> 第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。<br /> <br /> The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.<br /> <br /> 在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.<br /> <br /> Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》这一书名比《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯、闵福德比杨、阳更受喜爱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:45, 14 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. <br /> <br /> For further information please refer to the conference website http://china-studies. com.<br /> <br /> '''World Citizen Lu Xun:''' <br /> <br /> '''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''<br /> <br /> '''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''<br /> <br /> '''''Martin Woesler 吳漠汀'''''<br /> <br /> Witten/Herdecke University 北京師範大學<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> Abstract<br /> <br /> Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays.<br /> <br /> 摘要<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他证明自己对纳粹的罪行，尤其是焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 09:19, 14 November 2020 (UTC)<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他深刻论证了德国纳粹的罪行，尤其是体现其对焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 14 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。<br /> <br /> In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. <br /> <br /> 他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.<br /> <br /> 两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。<br /> <br /> This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.<br /> <br /> 综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。<br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> '''Introduction''''''简介'''<br /> <br /> Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea''). In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them.<br /> <br /> 介绍<br /> <br /> 在鲁迅学生年代早期（1902-1903），他就是翻译国外文学的一名重要译员。（儒勒·凡尔纳：“月球之旅，海底两万里”）1906年3月，他决定放弃西医学习，成为一名作家，决定治愈中国人的思想而不是身体疾病。不过在他的一生中，希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能煽动人们去改变这些事，对此他感到很失望。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:38, 14 November 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> <br /> In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.<br /> <br /> 因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)<br /> <br /> 因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel. Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.<br /> <br /> 他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)<br /> <br /> 他没有加入中国共产党，并且还跟共产党的思想家争论。1935年，他拒绝写一部支持共产党的小说。他去世不久前写道：“忘了我，关心你们自己的生活吧。如果不这样做，你们可真的太傻了。”尽管如此，在他去世后，共产党仍然接收他为中共党员，毛泽东还亲自提笔为他写墓碑。<br /> <br /> 丹顿·柯克（2002),鲁迅传记，MCLC资源中心。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:17, 14 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> '''Westernization?'''<br /> <br /> Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.<br /> <br /> Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.<br /> 鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> The reaction of the Vice General Consul in his report to the German Embassy in Peking shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).<br /> <br /> 在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.<br /> <br /> 鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。<br /> <br /> 鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> '''Lu Xun’s in-depth and early understanding of Nazi crimes'''<br /> <br /> On July 11 and 16, 1933, Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.<br /> <br /> Lovell, Julia. &quot;Introduction&quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.<br /> <br /> Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.<br /> <br /> “鲁迅早期对纳粹罪行的深入了解”<br /> <br /> 1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general. Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. <br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> '''The China League for Civil Rights'''<br /> <br /> The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.<br /> <br /> ==Wang Yuan 王源==<br /> <br /> The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party. The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.<br /> <br /> On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.<br /> <br /> Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present. Lin Yutang was also not mentioned by the Chinese press. <br /> <br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.” <br /> <br /> Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.<br /> <br /> For the involvement of foreigners in the League see Chen Jinxing 2006 and others.<br /> <br /> Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.<br /> <br /> The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide. All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。<br /> <br /> Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.<br /> <br /> Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> 作为联盟中最多产的成员，鲁迅积极而杰出地参与联盟抗议活动，显示出他对普遍人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:56, 14 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> '''The Nobel Prize of Literature'''<br /> <br /> In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &quot;The greatest writer Asia produced in the twentieth century.&quot; In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”<br /> <br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.” (Eventually, the prize was awarded to Sinclair Lewis.)<br /> <br /> 鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)<br /> <br /> 鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”<br /> <br /> 鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).<br /> <br /> 斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.<br /> <br /> 这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。<br /> <br /> Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. <br /> <br /> 谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。<br /> <br /> These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> 这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role. Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.<br /> <br /> 一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)<br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> '''Conclusion: Universalism'''<br /> <br /> Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. <br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”), but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.<br /> <br /> 保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.<br /> <br /> 杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> '''Appendix: Lu Xun’s two essays in Chinese<br /> <br /> 智识过剩'''<br /> 虞明<br /> <br /> 世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。<br /> 然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。<br /> 西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。<br /> 中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。<br /> 就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。<br /> 智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。<br /> 心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。<br /> 然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。<br /> 提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……<br /> <br /> 有了这样的实用教育，智识就不过剩了。亚门！<br /> <br /> 七月十二日。<br /> <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.<br /> <br /> 《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> '''华德焚书异同论''' <br /> <br /> 孺牛<br /> <br /> 德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。<br /> Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &quot;thought's in Qin State&quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie<br /> <br /> It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &quot;alienministers&quot; from other countries, and did not focus exclusively on &quot;Qin's thoughts&quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。<br /> <br /> People in the state of Qin attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。<br /> <br /> ==Yang Hairong 杨海容==<br /> 阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。<br /> <br /> ==Yang Hui 阳慧==<br /> 但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。<br /> <br /> ==Yang Yi 杨逸==<br /> 希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？<br /> <br /> ==Yang Yue 杨悦==<br /> 这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。<br /> <br /> <br /> This time there is no need for the second king, is only half a year. Mr. Hitler’s disciples were banned in Austria, and even the party emblem was changed to a three-color rose. The most interesting thing is that because slogans are not allowed to be called, everyone covers their mouths with their hands and uses the &quot;mouth cover&quot;.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:16, 14 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。<br /> <br /> ==Yao Cheng 姚诚==<br /> When we define an academic category like &quot;Chinese studies&quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads.<br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)<br /> <br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> ==Yi Huan 易欢==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.<br /> <br /> ==Yi Zichu 义子楚==<br /> We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> 然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。<br /> 当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)<br /> <br /> 你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.<br /> <br /> 虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)<br /> <br /> 首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.<br /> <br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> 然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)<br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。这是因为他们通过将中国描绘成一个看似适合进行传教工作的理想国度（如杜赫德神父），以至于对中国的观点往往带有主观的色彩。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:13, 14 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> 大约在1720年法国人让·弗朗索瓦·诺埃拉斯甚至将《道德经》翻译为拉丁语。结果证明，译文背离了原文，我们突然在其中发现基督教三位一体的上帝。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:14, 14 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> ==Zeng Yanhu 曾雁湖==<br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时是因为武力的加持。 许多被认为不那么“发达”的文化受到了严重的影响，甚至被摧毁和灭绝。早些时候，“穿越勇士们”甚至进行了战争，摧毁了整个地区。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:43, 14 November 2020 (UTC)<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时还得到武力支持。 许多被认为不那么“发达”的文化受到了严重影响，甚至被摧毁和灭绝。 早些时候，“十字架上的战士”甚至进行了战争，摧毁了整个地区。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:23, 14 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. <br /> ==Zhang Hui 张慧==<br /> The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,当然这并不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也追逐中国风，他们把中国比作一个没有宗教信仰和道德价值，只以开明君主为代表的理想国度。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:27, 14 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> ==Zhang Qi 张琪==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. <br /> ==Zhang Weihong 张维虹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> ==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. <br /> <br /> ==Zhang Yinliu 张银柳==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> ==Zhang Yu 张瑜==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.]<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是《红楼梦》小说中的一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930 pp。，此处p。 614，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造了一直持续到今天几乎不变的对《红楼梦》标题的英译方法。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:13, 14 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xi 赵茜==<br /> He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xiaoyan 赵晓燕==<br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> 1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] <br /> ==Zhou Shiqing 周诗卿==<br /> He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. <br /> ==Zhou Shuyao 周书尧==<br /> They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. <br /> ==Zhou Siqing 周思庆==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> ==Zhou Yiwen 周艺文==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below –<br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> 在1867年，也就是第一本中文版出版78年后，我们发现了威廉·弗雷德里克·迈尔斯第一次真正深入的评论，有两页纸那么长。（《备忘和查询》（1867，12月31）中记载，迈尔斯是英国驻北京公使馆的中国秘书。他还摘录了一些简短的译文:<br /> “苍苍穹苍，茫茫大地——<br /> 但愿这无限的叹息填满激情的往昔，<br /> 为无谓的青春悲叹，为不幸少女悲哀!”<br /> 爱情的轻誓终不能兑现!“(167页)[……]<br /> 性情温和，行为温顺，美如天至，都是枉然……(168页)<br /> [……]<br /> 你的渴望并非时常闪耀，也枉然!”(168页)]。)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> 如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. <br /> ==Zhu Meimei 祝美梅==<br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> ==Zhu Suyao 朱素瑶==<br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.<br /> <br /> 在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.<br /> ==Zou Xinyu 邹鑫雨==<br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“汉学”做出了贡献。 “汉学”曾受到理想主义者（如耶稣会成员，欧洲启蒙哲学家）和中国抨击者（如黑格尔，德国皇帝……）的严重<br /> 影响，一部世界文学中的中国作品需要历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖的认可，孔子学院在促进向外传播中国文化的工作中也取得了成功。<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:14, 14 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.<br /> <br /> 然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[ Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”, (p. 213).] <br /> <br /> ==Volunteer==<br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> 孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。<br /> <br /> 这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)<br /> <br /> 孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。<br /> 这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)</div>

Wu Kai https://bou.de/u/index.php?title=20201116_trans&diff=104266 2020-11-14T12:03:16Z

<p>Wu Kai: /* Peng Yuzhi 彭育志 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''WOESLER, Martin'''<br /> <br /> '''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''<br /> <br /> '''The Waves of the Stone –''' <br /> <br /> '''Early Reception Between Instrumentalization and Exoticization'''<br /> <br /> '''Abstract'''<br /> <br /> The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).<br /> <br /> ==Chen Han 陈涵==<br /> <br /> '''Key words'''<br /> <br /> Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation<br /> <br /> '''First (unproven) experiences of young Cao Xueqin with foreign literature'''<br /> <br /> In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> &quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &quot;dragon and phoenix&quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&quot;.[ Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]<br /> 主人是热情好客的化身，并且经常当场创作诗歌以示融洽。作为回应，我的祖父也会分享圣经讲道，并对莎士比亚戏剧作了图形叙述。他的观众往往只有青少年和女性。曹雪芹那骄纵的儿子由于偷听，遭到了曹先生的鞭打和斥责。[菲利普·温斯顿：《龙的帝国》，道格拉斯 1874,53页。引自Wu Xinlei, HuangJinde &quot;Cao Xueqin Jiangnan Family History&quot;, Fujian People's publishing House,1983,304页,103-104页。 还引自：Yau-Woon Ma &quot;&quot;Facts and Ideas: Historical Commentary on Chinese Fiction&quot;, Lianjing Publishing Co.,LTD,2007, P384. 还引自：Zhou Ruchang &quot;A New Biography of Cao Xueqin&quot; Foreign language Press(1992)²1997, 353页。101页。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:02, 14 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.<br /> <br /> '''Status of the book before its publication'''<br /> <br /> Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> <br /> <br /> The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.<br /> <br /> The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.<br /> <br /> ==Chen Sha 陈莎==<br /> <br /> '''From inofficial manuscript versions to the printed book'''<br /> <br /> One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. <br /> <br /> Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> “One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp; Co. 1900, 386 pp., here p. 109.]<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> '''Preparations of the 1st book edition'''<br /> <br /> Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). <br /> <br /> According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.<br /> <br /> ==Cheng Yusi 成于思==<br /> <br /> In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.<br /> <br /> Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> '''1st Book edition 1791:''' 程甲本 Cheng A edition<br /> <br /> According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> '''2nd Book edition in 1792:''' 程乙本 Cheng B edition<br /> <br /> A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.<br /> <br /> The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.<br /> <br /> 很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。<br /> 小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. <br /> <br /> ==Gong Yumian 龚钰冕==<br /> <br /> '''Spreading to Japan and Korea'''<br /> <br /> Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]<br /> <br /> There were early (partial) translations of the novel into Manchurian.<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> '''Early Western notions of the book'''<br /> <br /> The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. <br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: <br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] <br /> <br /> ==Guo Lu 郭露==<br /> <br /> Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[ 《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] <br /> <br /> ==Han Haiyang 韩海洋==<br /> <br /> Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.<br /> <br /> The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. <br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> '''Early translation history in the West'''<br /> <br /> In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ “Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]<br /> <br /> ==He Changqi 何长琦==<br /> <br /> These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. <br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ Yang 1980 3:621-622.]<br /> <br /> ==Hu Huifang 胡慧芳==<br /> <br /> '''Early Misunderstandings'''<br /> <br /> Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ “''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.<br /> <br /> 在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ “HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]<br /> <br /> 此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> '''Early Reception of the novel in the West'''<br /> <br /> We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).<br /> <br /> ==Jiang Hao 姜好==<br /> <br /> One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. <br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: <br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> - exoticism (J. Davis, Barrow, Bruguière)<br /> <br /> - the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)<br /> <br /> - polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)<br /> <br /> - to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)<br /> <br /> <br /> In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).<br /> <br /> - 异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> - 中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）<br /> <br /> - 通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）<br /> <br /> - 证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）<br /> <br /> 在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)<br /> <br /> <br /> -异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> -中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）<br /> <br /> -通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）<br /> <br /> -证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）<br /> <br /> <br /> 在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:15, 14 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> <br /> However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.<br /> <br /> Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> '''Motifs for judgements'''<br /> <br /> As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.<br /> <br /> There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.<br /> 判断的主题<br /> 作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。<br /> 随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)<br /> <br /> 判断主题<br /> 上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。<br /> 随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> '''The novel title'''<br /> <br /> The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ „Traumgesicht auf dem rothen Thurm“, see&gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].<br /> <br /> <br /> '''小说名'''<br /> <br /> 书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.<br /> <br /> 许多学者都讨论过这样一个问题，即这部小说是否应该叫 &quot;石头的故事 &quot;而不是 &quot;红楼梦 &quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &quot;也叫&quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)<br /> <br /> 许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi<br /> <br /> 一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Li Haiquan 李海泉==<br /> <br /> Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. <br /> <br /> ==Li Lili 李丽丽==<br /> <br /> There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.<br /> 有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili<br /> <br /> 有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.<br /> 为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> '''80 or 120 chapters'''<br /> <br /> The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.<br /> <br /> “80章还是120章”<br /> <br /> 第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)<br /> <br /> '''80章还是120章'''<br /> <br /> 第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.<br /> <br /> '''Deviations from the original'''<br /> <br /> Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.<br /> <br /> ==Li Meng 李梦==<br /> <br /> Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.<br /> <br /> '''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''<br /> <br /> This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.<br /> <br /> 程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。<br /> <br /> 程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。<br /> <br /> Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.<br /> <br /> ==Li Yu 李玉==<br /> <br /> The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. <br /> <br /> ==Lin Min 林敏==<br /> <br /> Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.<br /> <br /> ==Liu Bo 刘博==<br /> <br /> Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.<br /> <br /> The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.<br /> <br /> In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.<br /> <br /> This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> '''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''<br /> <br /> In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:<br /> <br /> 程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.<br /> <br /> Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> <br /> 明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.<br /> <br /> Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.<br /> <br /> In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… <br /> <br /> We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. <br /> <br /> In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.<br /> <br /> The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game” for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.<br /> <br /> <br /> '''Sequels'''<br /> <br /> Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> '''Spreading of the novel to Russia'''<br /> <br /> In 1832, a member of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员) brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. <br /> <br /> '''Reevaluation in Late Qing and status in the Cultural Revolution'''<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> Wang Guowei improved the status of the novel since 1885, he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. <br /> <br /> During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.<br /> <br /> '''Spreading in Germany'''<br /> <br /> The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols. Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. <br /> <br /> '''References'''<br /> <br /> [Please refer to the full bibliographic references in the footnotes for now.]<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> '''Report'''<br /> <br /> '''3rd International Dream of the Red Chamber Conference in Europe'''<br /> <br /> ''Martin Woesler''<br /> <br /> On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. <br /> <br /> ==Meng Ying 孟莹==<br /> <br /> In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> <br /> Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. <br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.<br /> <br /> In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.<br /> <br /> 玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。<br /> <br /> 在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling<br /> <br /> 玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。<br /> <br /> 在第三板块 &quot;跨学科/跨文本方法 &quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. <br /> <br /> 第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。<br /> <br /> The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.<br /> <br /> 在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.<br /> <br /> Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》这一书名比《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯、闵福德比杨、阳更受喜爱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:45, 14 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. <br /> <br /> For further information please refer to the conference website http://china-studies. com.<br /> <br /> '''World Citizen Lu Xun:''' <br /> <br /> '''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''<br /> <br /> '''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''<br /> <br /> '''''Martin Woesler 吳漠汀'''''<br /> <br /> Witten/Herdecke University 北京師範大學<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> Abstract<br /> <br /> Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays.<br /> <br /> 摘要<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他证明自己对纳粹的罪行，尤其是焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 09:19, 14 November 2020 (UTC)<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他深刻论证了德国纳粹的罪行，尤其是体现对焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 14 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。<br /> <br /> In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. <br /> <br /> 他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.<br /> <br /> 两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。<br /> <br /> This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.<br /> <br /> 综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。<br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> '''Introduction''''''简介'''<br /> <br /> Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea''). In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them.<br /> <br /> 介绍<br /> <br /> 在鲁迅学生年代早期（1902-1903），他就是翻译国外文学的一名重要译员。（儒勒·凡尔纳：“月球之旅，海底两万里”）1906年3月，他决定放弃西医学习，成为一名作家，决定治愈中国人的思想而不是身体疾病。不过在他的一生中，希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能煽动人们去改变这些事，对此他感到很失望。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:38, 14 November 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> <br /> In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.<br /> <br /> 因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)<br /> <br /> 因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel. Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.<br /> <br /> 他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)<br /> <br /> 他没有加入中国共产党，并且还跟共产党的思想家争论。1935年，他拒绝写一部支持共产党的小说。他去世不久前写道：“忘了我，关心你们自己的生活吧。如果不这样做，你们可真的太傻了。”尽管如此，在他去世后，共产党仍然接收他为中共党员，毛泽东还亲自提笔为他写墓碑。<br /> <br /> 丹顿·柯克（2002),鲁迅传记，MCLC资源中心。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:17, 14 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> '''Westernization?'''<br /> <br /> Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.<br /> <br /> Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.<br /> 鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> The reaction of the Vice General Consul in his report to the German Embassy in Peking shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).<br /> <br /> 在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.<br /> <br /> 鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。<br /> <br /> 鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> '''Lu Xun’s in-depth and early understanding of Nazi crimes'''<br /> <br /> On July 11 and 16, 1933, Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.<br /> <br /> Lovell, Julia. &quot;Introduction&quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.<br /> <br /> Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.<br /> <br /> “鲁迅早期对纳粹罪行的深入了解”<br /> <br /> 1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general. Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. <br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> '''The China League for Civil Rights'''<br /> <br /> The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.<br /> <br /> ==Wang Yuan 王源==<br /> <br /> The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party. The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.<br /> <br /> On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.<br /> <br /> Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present. Lin Yutang was also not mentioned by the Chinese press. <br /> <br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.” <br /> <br /> Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.<br /> <br /> For the involvement of foreigners in the League see Chen Jinxing 2006 and others.<br /> <br /> Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.<br /> <br /> The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide. All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。<br /> <br /> Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.<br /> <br /> Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> 作为联盟中最多产的成员，鲁迅积极而杰出地参与联盟抗议活动，显示出他对普遍人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:56, 14 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> '''The Nobel Prize of Literature'''<br /> <br /> In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &quot;The greatest writer Asia produced in the twentieth century.&quot; In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”<br /> <br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.” (Eventually, the prize was awarded to Sinclair Lewis.)<br /> <br /> 鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)<br /> <br /> 鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”<br /> <br /> 鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).<br /> <br /> 斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.<br /> <br /> 这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。<br /> <br /> Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. <br /> <br /> 谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。<br /> <br /> These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> 这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role. Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.<br /> <br /> 一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)<br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> '''Conclusion: Universalism'''<br /> <br /> Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. <br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”), but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.<br /> <br /> 保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.<br /> <br /> 杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> '''Appendix: Lu Xun’s two essays in Chinese<br /> <br /> 智识过剩'''<br /> 虞明<br /> <br /> 世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。<br /> 然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。<br /> 西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。<br /> 中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。<br /> 就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。<br /> 智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。<br /> 心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。<br /> 然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。<br /> 提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……<br /> <br /> 有了这样的实用教育，智识就不过剩了。亚门！<br /> <br /> 七月十二日。<br /> <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.<br /> <br /> 《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> '''华德焚书异同论''' <br /> <br /> 孺牛<br /> <br /> 德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。<br /> Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &quot;thought's in Qin State&quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie<br /> <br /> It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &quot;alienministers&quot; from other countries, and did not focus exclusively on &quot;Qin's thoughts&quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。<br /> <br /> People in the state of Qin attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。<br /> <br /> ==Yang Hairong 杨海容==<br /> 阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。<br /> <br /> ==Yang Hui 阳慧==<br /> 但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。<br /> <br /> ==Yang Yi 杨逸==<br /> 希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？<br /> <br /> ==Yang Yue 杨悦==<br /> 这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。<br /> <br /> <br /> This time there is no need for the second king, is only half a year. Mr. Hitler’s disciples were banned in Austria, and even the party emblem was changed to a three-color rose. The most interesting thing is that because slogans are not allowed to be called, everyone covers their mouths with their hands and uses the &quot;mouth cover&quot;.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:16, 14 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。<br /> <br /> ==Yao Cheng 姚诚==<br /> When we define an academic category like &quot;Chinese studies&quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads.<br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)<br /> <br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> ==Yi Huan 易欢==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.<br /> <br /> ==Yi Zichu 义子楚==<br /> We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> 然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。<br /> 当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)<br /> <br /> 你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.<br /> <br /> 虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)<br /> <br /> 首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.<br /> <br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> 然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)<br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。这是因为他们通过将中国描绘成一个看似适合进行传教工作的理想国度（如杜赫德神父），以至于对中国的观点往往带有主观的色彩。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:13, 14 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> 大约在1720年法国人让·弗朗索瓦·诺埃拉斯甚至将《道德经》翻译为拉丁语。结果证明，译文背离了原文，我们突然在其中发现基督教三位一体的上帝。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:14, 14 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> ==Zeng Yanhu 曾雁湖==<br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时是因为武力的加持。 许多被认为不那么“发达”的文化受到了严重的影响，甚至被摧毁和灭绝。早些时候，“穿越勇士们”甚至进行了战争，摧毁了整个地区。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:43, 14 November 2020 (UTC)<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时还得到武力支持。 许多被认为不那么“发达”的文化受到了严重影响，甚至被摧毁和灭绝。 早些时候，“十字架上的战士”甚至进行了战争，摧毁了整个地区。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:23, 14 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. <br /> ==Zhang Hui 张慧==<br /> The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,当然这并不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也追逐中国风，他们把中国比作一个没有宗教信仰和道德价值，只以开明君主为代表的理想国度。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:27, 14 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> ==Zhang Qi 张琪==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. <br /> ==Zhang Weihong 张维虹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> ==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. <br /> <br /> ==Zhang Yinliu 张银柳==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> ==Zhang Yu 张瑜==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.]<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是《红楼梦》小说中的一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930 pp。，此处p。 614，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造了一直持续到今天几乎不变的对《红楼梦》标题的英译方法。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:13, 14 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xi 赵茜==<br /> He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xiaoyan 赵晓燕==<br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> 1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] <br /> ==Zhou Shiqing 周诗卿==<br /> He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. <br /> ==Zhou Shuyao 周书尧==<br /> They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. <br /> ==Zhou Siqing 周思庆==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> ==Zhou Yiwen 周艺文==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below –<br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> 在1867年，也就是第一本中文版出版78年后，我们发现了威廉·弗雷德里克·迈尔斯第一次真正深入的评论，有两页纸那么长。（《备忘和查询》（1867，12月31）中记载，迈尔斯是英国驻北京公使馆的中国秘书。他还摘录了一些简短的译文:<br /> “苍苍穹苍，茫茫大地——<br /> 但愿这无限的叹息填满激情的往昔，<br /> 为无谓的青春悲叹，为不幸少女悲哀!”<br /> 爱情的轻誓终不能兑现!“(167页)[……]<br /> 性情温和，行为温顺，美如天至，都是枉然……(168页)<br /> [……]<br /> 你的渴望并非时常闪耀，也枉然!”(168页)]。)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> 如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. <br /> ==Zhu Meimei 祝美梅==<br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> ==Zhu Suyao 朱素瑶==<br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.<br /> <br /> 在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.<br /> ==Zou Xinyu 邹鑫雨==<br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“汉学”做出了贡献。 “汉学”曾受到理想主义者（如耶稣会成员，欧洲启蒙哲学家）和中国抨击者（如黑格尔，德国皇帝……）的严重<br /> 影响，一部世界文学中的中国作品需要历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖的认可，孔子学院在促进向外传播中国文化的工作中也取得了成功。<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:14, 14 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.<br /> <br /> 然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[ Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”, (p. 213).] <br /> <br /> ==Volunteer==<br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> 孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。<br /> <br /> 这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)<br /> <br /> 孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。<br /> 这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)</div>

Wu Kai https://bou.de/u/index.php?title=20201116_trans&diff=104265 2020-11-14T11:56:43Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''WOESLER, Martin'''<br /> <br /> '''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''<br /> <br /> '''The Waves of the Stone –''' <br /> <br /> '''Early Reception Between Instrumentalization and Exoticization'''<br /> <br /> '''Abstract'''<br /> <br /> The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).<br /> <br /> ==Chen Han 陈涵==<br /> <br /> '''Key words'''<br /> <br /> Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation<br /> <br /> '''First (unproven) experiences of young Cao Xueqin with foreign literature'''<br /> <br /> In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> &quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &quot;dragon and phoenix&quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&quot;.[ Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]<br /> 主人是热情好客的化身，并且经常当场创作诗歌以示融洽。作为回应，我的祖父也会分享圣经讲道，并对莎士比亚戏剧作了图形叙述。他的观众往往只有青少年和女性。曹雪芹那骄纵的儿子由于偷听，遭到了曹先生的鞭打和斥责。[菲利普·温斯顿：《龙的帝国》，道格拉斯 1874,53页。引自Wu Xinlei, HuangJinde &quot;Cao Xueqin Jiangnan Family History&quot;, Fujian People's publishing House,1983,304页,103-104页。 还引自：Yau-Woon Ma &quot;&quot;Facts and Ideas: Historical Commentary on Chinese Fiction&quot;, Lianjing Publishing Co.,LTD,2007, P384. 还引自：Zhou Ruchang &quot;A New Biography of Cao Xueqin&quot; Foreign language Press(1992)²1997, 353页。101页。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:02, 14 November 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.<br /> <br /> '''Status of the book before its publication'''<br /> <br /> Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> <br /> <br /> The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.<br /> <br /> The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.<br /> <br /> ==Chen Sha 陈莎==<br /> <br /> '''From inofficial manuscript versions to the printed book'''<br /> <br /> One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. <br /> <br /> Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> “One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp; Co. 1900, 386 pp., here p. 109.]<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> '''Preparations of the 1st book edition'''<br /> <br /> Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). <br /> <br /> According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.<br /> <br /> ==Cheng Yusi 成于思==<br /> <br /> In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.<br /> <br /> Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> '''1st Book edition 1791:''' 程甲本 Cheng A edition<br /> <br /> According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)<br /> <br /> '''1791年第一版:''' 程甲本 <br /> <br /> 根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> '''2nd Book edition in 1792:''' 程乙本 Cheng B edition<br /> <br /> A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.<br /> <br /> 1792年第二版：程乙本<br /> <br /> 第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.<br /> <br /> The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.<br /> <br /> 很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。<br /> 小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> <br /> Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. <br /> <br /> ==Gong Yumian 龚钰冕==<br /> <br /> '''Spreading to Japan and Korea'''<br /> <br /> Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]<br /> <br /> There were early (partial) translations of the novel into Manchurian.<br /> <br /> ==Gu Dongfang 顾东方==<br /> <br /> '''Early Western notions of the book'''<br /> <br /> The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. <br /> <br /> ==Guan Qinqing 管钦清==<br /> <br /> The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: <br /> <br /> ==Gui Yizhi 桂一枝==<br /> <br /> Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] <br /> <br /> ==Guo Lu 郭露==<br /> <br /> Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[ 《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] <br /> <br /> ==Han Haiyang 韩海洋==<br /> <br /> Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.<br /> <br /> The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. <br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> '''Early translation history in the West'''<br /> <br /> In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ “Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]<br /> <br /> ==He Changqi 何长琦==<br /> <br /> These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. <br /> <br /> ==Hu Baihui 胡百辉==<br /> <br /> Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ Yang 1980 3:621-622.]<br /> <br /> ==Hu Huifang 胡慧芳==<br /> <br /> '''Early Misunderstandings'''<br /> <br /> Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ “''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.<br /> <br /> 在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> <br /> Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ “HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]<br /> <br /> 此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> '''Early Reception of the novel in the West'''<br /> <br /> We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).<br /> <br /> ==Jiang Hao 姜好==<br /> <br /> One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. <br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: <br /> <br /> ==Kang Haoyu 康浩宇==<br /> <br /> - exoticism (J. Davis, Barrow, Bruguière)<br /> <br /> - the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)<br /> <br /> - polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)<br /> <br /> - to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)<br /> <br /> <br /> In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).<br /> <br /> - 异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> - 中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）<br /> <br /> - 通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）<br /> <br /> - 证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）<br /> <br /> 在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)<br /> <br /> <br /> -异国情调（J.戴维斯，巴罗，布鲁基耶）<br /> <br /> -中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）<br /> <br /> -通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）<br /> <br /> -证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）<br /> <br /> <br /> 在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:15, 14 November 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> <br /> However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.<br /> <br /> Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> '''Motifs for judgements'''<br /> <br /> As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.<br /> <br /> There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.<br /> 判断的主题<br /> 作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。<br /> 随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)<br /> <br /> 判断主题<br /> 上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。<br /> 随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> '''The novel title'''<br /> <br /> The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ „Traumgesicht auf dem rothen Thurm“, see&gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].<br /> <br /> <br /> '''小说名'''<br /> <br /> 书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.<br /> <br /> 许多学者都讨论过这样一个问题，即这部小说是否应该叫 &quot;石头的故事 &quot;而不是 &quot;红楼梦 &quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &quot;也叫&quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)<br /> <br /> 许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi<br /> <br /> 一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)<br /> <br /> 一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili<br /> <br /> ==Li Haiquan 李海泉==<br /> <br /> Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. <br /> <br /> ==Li Lili 李丽丽==<br /> <br /> There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.<br /> 有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili<br /> <br /> 有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.<br /> 为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> '''80 or 120 chapters'''<br /> <br /> The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.<br /> <br /> “80章还是120章”<br /> <br /> 第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)<br /> <br /> '''80章还是120章'''<br /> <br /> 第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.<br /> <br /> '''Deviations from the original'''<br /> <br /> Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.<br /> <br /> ==Li Meng 李梦==<br /> <br /> Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.<br /> <br /> '''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''<br /> <br /> This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.<br /> <br /> 程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。<br /> <br /> 程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。<br /> <br /> Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.<br /> <br /> ==Li Yu 李玉==<br /> <br /> The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. <br /> <br /> ==Lin Min 林敏==<br /> <br /> Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.<br /> <br /> ==Liu Bo 刘博==<br /> <br /> Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.<br /> <br /> The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.<br /> <br /> In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: <br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.<br /> <br /> This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)<br /> <br /> 他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> '''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''<br /> <br /> In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:<br /> <br /> 程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.<br /> <br /> Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.<br /> <br /> 杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。<br /> <br /> 明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.<br /> <br /> Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.<br /> <br /> In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… <br /> <br /> We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. <br /> <br /> In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.<br /> <br /> The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game” for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.<br /> <br /> <br /> '''Sequels'''<br /> <br /> Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> '''Spreading of the novel to Russia'''<br /> <br /> In 1832, a member of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员) brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. <br /> <br /> '''Reevaluation in Late Qing and status in the Cultural Revolution'''<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> Wang Guowei improved the status of the novel since 1885, he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. <br /> <br /> During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.<br /> <br /> '''Spreading in Germany'''<br /> <br /> The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols. Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. <br /> <br /> '''References'''<br /> <br /> [Please refer to the full bibliographic references in the footnotes for now.]<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> '''Report'''<br /> <br /> '''3rd International Dream of the Red Chamber Conference in Europe'''<br /> <br /> ''Martin Woesler''<br /> <br /> On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. <br /> <br /> ==Meng Ying 孟莹==<br /> <br /> In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling<br /> <br /> 作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> <br /> Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. <br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.<br /> <br /> In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.<br /> <br /> 玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。<br /> <br /> 在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling<br /> <br /> 玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。<br /> <br /> 在第三板块 &quot;跨学科/跨文本方法 &quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. <br /> <br /> 第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。<br /> <br /> The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.<br /> <br /> 在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.<br /> <br /> Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.<br /> <br /> 与会者普遍同意120章回版本是最具权威的版本，而且《红楼梦》这一书名比《石头记》更为常见。<br /> <br /> 魏凌志（北京）介绍了2015年中国读者对这部小说及作者的代表性调查结果，证明了这部小说一直以来所受到的广泛欢迎和高度尊重。至于翻译版本，霍克斯、闵福德比杨、阳更受喜爱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:45, 14 November 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. <br /> <br /> For further information please refer to the conference website http://china-studies. com.<br /> <br /> '''World Citizen Lu Xun:''' <br /> <br /> '''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''<br /> <br /> '''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''<br /> <br /> '''''Martin Woesler 吳漠汀'''''<br /> <br /> Witten/Herdecke University 北京師範大學<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> Abstract<br /> <br /> Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays.<br /> <br /> 摘要<br /> <br /> 近年发现的档案证明，鲁迅在文化事件中有很强的政治意识。在1933年5月10日柏林焚书事件发生后三日，鲁迅作为中国民权保障同盟执行委员会的一员对纳粹德国的“恐怖行径和残忍回应”表示抗议。鲁迅采取行动并向德国驻上海使馆提交了一份官方抗议书，对此，纳粹外交官的态度十分慎重。鲁迅抗议对犹太作家的种族压迫，而他自己的一篇世界文学，“狂人日记”（1918），若在德国出版，也会被视作“堕落艺术”。1933年6月，在两篇文章中，他证明自己对纳粹的罪行，尤其是焚书以及对侮辱和驱逐作家有了深入的理解。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 09:19, 14 November 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。<br /> <br /> In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. <br /> <br /> 他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.<br /> <br /> 两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。<br /> <br /> This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.<br /> <br /> 综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。<br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> '''Introduction''''''简介'''<br /> <br /> Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea''). In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them.<br /> <br /> 介绍<br /> <br /> 在鲁迅学生年代早期（1902-1903），他就是翻译国外文学的一名重要译员。（儒勒·凡尔纳：“月球之旅，海底两万里”）1906年3月，他决定放弃西医学习，成为一名作家，决定治愈中国人的思想而不是身体疾病。不过在他的一生中，希望和失望交织，他希望能带领中国人过上好日子；不过单凭他的作品，无力真正改变一件事物，也不能煽动人们去改变这些事，对此他感到很失望。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:38, 14 November 2020 (UTC)<br /> <br /> ==Sagara Seydou ==<br /> <br /> In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.<br /> <br /> 因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)<br /> <br /> 因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)<br /> <br /> ==Si Yu 司妤==<br /> <br /> Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). <br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel. Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.<br /> <br /> 他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。<br /> <br /> Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)<br /> <br /> 他没有加入中国共产党，并且还跟共产党的思想家争论。1935年，他拒绝写一部支持共产党的小说。他去世不久前写道：“忘了我，关心你们自己的生活吧。如果不这样做，你们可真的太傻了。”尽管如此，在他去世后，共产党仍然接收他为中共党员，毛泽东还亲自提笔为他写墓碑。<br /> <br /> 丹顿·柯克（2002),鲁迅传记，MCLC资源中心。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 11:17, 14 November 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> '''Westernization?'''<br /> <br /> Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.<br /> <br /> Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.<br /> 鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> The reaction of the Vice General Consul in his report to the German Embassy in Peking shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).<br /> <br /> 在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.<br /> <br /> 鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。<br /> <br /> 鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting<br /> <br /> 鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> '''Lu Xun’s in-depth and early understanding of Nazi crimes'''<br /> <br /> On July 11 and 16, 1933, Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.<br /> <br /> Lovell, Julia. &quot;Introduction&quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.<br /> <br /> Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.<br /> <br /> “鲁迅早期对纳粹罪行的深入了解”<br /> <br /> 1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general. Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. <br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> '''The China League for Civil Rights'''<br /> <br /> The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.<br /> <br /> ==Wang Yuan 王源==<br /> <br /> The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party. The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.<br /> <br /> On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.<br /> <br /> Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present. Lin Yutang was also not mentioned by the Chinese press. <br /> <br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.” <br /> <br /> Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.<br /> <br /> For the involvement of foreigners in the League see Chen Jinxing 2006 and others.<br /> <br /> Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.<br /> <br /> The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide. All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. <br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。<br /> <br /> Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.<br /> <br /> Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.<br /> <br /> 作为联盟中最多产的成员，鲁迅积极而杰出地参与联盟抗议活动，显示出他对普遍人权原则的热爱——仅仅出于他对同胞的关注。<br /> <br /> 普莱斯•露丝。艾格妮丝•史沫特莱的生平。牛津大学出版社，美国，2005年。<br /> <br /> 陈金星：“中国民权同盟的兴衰”，载于《中国评论》第一卷。 第六卷，第二期，关于：WTO与中国金融发展的专刊(Fall 2006), pp. 121-147.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:56, 14 November 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> '''The Nobel Prize of Literature'''<br /> <br /> In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &quot;The greatest writer Asia produced in the twentieth century.&quot; In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”<br /> <br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.” (Eventually, the prize was awarded to Sinclair Lewis.)<br /> <br /> 鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)<br /> <br /> 鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”<br /> <br /> 鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).<br /> <br /> 斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> <br /> This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.<br /> <br /> 这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。<br /> <br /> Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. <br /> <br /> 谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。<br /> <br /> These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”<br /> <br /> 这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role. Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.<br /> <br /> 一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting<br /> <br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)<br /> <br /> 一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> '''Conclusion: Universalism'''<br /> <br /> Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. <br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”), but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.<br /> <br /> 保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.<br /> <br /> 杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> '''Appendix: Lu Xun’s two essays in Chinese<br /> <br /> 智识过剩'''<br /> 虞明<br /> <br /> 世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。<br /> 然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。<br /> 西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。<br /> 中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。<br /> 就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。<br /> 智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。<br /> 心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。<br /> 然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。<br /> 提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……<br /> <br /> 有了这样的实用教育，智识就不过剩了。亚门！<br /> <br /> 七月十二日。<br /> <br /> <br /> ==Xu Jing 许晶==<br /> <br /> Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.<br /> <br /> 《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> '''华德焚书异同论''' <br /> <br /> 孺牛<br /> <br /> 德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。<br /> Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &quot;thought's in Qin State&quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie<br /> <br /> It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &quot;alienministers&quot; from other countries, and did not focus exclusively on &quot;Qin's thoughts&quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。<br /> <br /> People in the state of Qin attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。<br /> <br /> ==Yang Hairong 杨海容==<br /> 阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。<br /> <br /> ==Yang Hui 阳慧==<br /> 但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。<br /> <br /> ==Yang Yi 杨逸==<br /> 希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？<br /> <br /> ==Yang Yue 杨悦==<br /> 这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。<br /> <br /> <br /> This time there is no need for the second king, is only half a year. Mr. Hitler’s disciples were banned in Austria, and even the party emblem was changed to a three-color rose. The most interesting thing is that because slogans are not allowed to be called, everyone covers their mouths with their hands and uses the &quot;mouth cover&quot;.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:16, 14 November 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。<br /> <br /> ==Yao Cheng 姚诚==<br /> When we define an academic category like &quot;Chinese studies&quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads.<br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)<br /> <br /> <br /> 在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.<br /> <br /> ==Yi Huan 易欢==<br /> But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.<br /> <br /> ==Yi Zichu 义子楚==<br /> We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.<br /> <br /> Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.<br /> <br /> 今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。<br /> 与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)<br /> <br /> ==You Yuting 游雨婷==<br /> However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.<br /> <br /> When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.<br /> <br /> 然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。<br /> 当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)<br /> <br /> 然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。<br /> 当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.<br /> <br /> 你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)<br /> <br /> 你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.<br /> <br /> 虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).<br /> <br /> 首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。<br /> --[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)<br /> <br /> 首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.<br /> <br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)<br /> <br /> 然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)<br /> 然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。这是因为他们通过将中国描绘成一个看似适合进行传教工作的理想国度（如杜赫德神父），以至于对中国的观点往往带有主观的色彩。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:13, 14 November 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[ Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.<br /> 大约在1720年法国人让·弗朗索瓦·诺埃拉斯甚至将《道德经》翻译为拉丁语。结果证明，译文背离了原文，我们突然在其中发现基督教三位一体的上帝。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:14, 14 November 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.<br /> ==Zeng Yanhu 曾雁湖==<br /> The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时是因为武力的加持。 许多被认为不那么“发达”的文化受到了严重的影响，甚至被摧毁和灭绝。早些时候，“穿越勇士们”甚至进行了战争，摧毁了整个地区。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:43, 14 November 2020 (UTC)<br /> <br /> 传教士在一些大洲为看似“落后”的原住民洗礼，有时还得到武力支持。 许多被认为不那么“发达”的文化受到了严重影响，甚至被摧毁和灭绝。 早些时候，“十字架上的战士”甚至进行了战争，摧毁了整个地区。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 09:23, 14 November 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. <br /> ==Zhang Hui 张慧==<br /> The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.<br /> <br /> 对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)<br /> <br /> 对中国形象的狂热崇拜被称为“中国风”,当然这并不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也追逐中国风，他们把中国比作一个没有宗教信仰和道德价值，只以开明君主为代表的理想国度。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:27, 14 November 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)<br /> <br /> 在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. <br /> ==Zhang Qi 张琪==<br /> Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. <br /> ==Zhang Weihong 张维虹==<br /> A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. <br /> ==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. <br /> <br /> ==Zhang Yinliu 张银柳==<br /> This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.<br /> ==Zhang Yu 张瑜==<br /> Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.<br /> <br /> 在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.]<br /> <br /> 1815年，澳门神父罗伯特·莫里森（Robert Morrison，1782-1834年）在《中国词典》中将《红楼梦》的标题译为“dreams of the red chamber”，这是《红楼梦》小说标题的第一个英译版本。他解释了“妙”字，认为小说中人物“妙玉Meaouyǔh[Miao Yu]意为“令人敬佩的宝石，这是《红楼梦》小说中的一个女性人物的名字”。罗伯特·莫里森的词典分三个部分介绍了中国语言，澳门：东印度公司出版社1815年，第一卷。 I.，930 pp。，此处p。 614，左栏。 印刷版出版24年后，出现了迄今已知的最早的对红楼梦标题的西译版本。 如果未发现更早的记录，则意味着莫里森创造了一直持续到今天几乎不变的对《红楼梦》标题的英译方法。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:13, 14 November 2020 (UTC)<br /> <br /> ==Zhang Yuxing 张宇星==<br /> In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[ He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xi 赵茜==<br /> He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.<br /> ==Zhao Xiaoyan 赵晓燕==<br /> In 1817 Rev. Robert Morrison published a book for studying Chinese,[ Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.<br /> <br /> 1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)<br /> <br /> 1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[ Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]<br /> <br /> 莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[ My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works, see “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[ Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] <br /> ==Zhou Shiqing 周诗卿==<br /> He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. <br /> ==Zhou Shuyao 周书尧==<br /> They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. <br /> ==Zhou Siqing 周思庆==<br /> In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.<br /> Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[ “Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]<br /> ==Zhou Yiwen 周艺文==<br /> In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[ William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: <br /> “Vast as is Heaven above or Earth below –<br /> Sighs may such limits fill for passion vainly past <br /> Grieve for the senseless youth, the hapless maiden’s woe ! <br /> Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […] <br /> Vain to be soft in temper, mild in ways, <br /> Fair as the fairest … (p. 168) <br /> […] <br /> Not often shines <br /> thy longings too are vain ! ” (p. 168)].]<br /> <br /> 在1867年，也就是第一本中文版出版78年后，我们发现了威廉·弗雷德里克·迈尔斯第一次真正深入的评论，有两页纸那么长。（《备忘和查询》（1867，12月31）中记载，迈尔斯是英国驻北京公使馆的中国秘书。他还摘录了一些简短的译文:<br /> “苍苍穹苍，茫茫大地——<br /> 但愿这无限的叹息填满激情的往昔，<br /> 为无谓的青春悲叹，为不幸少女悲哀!”<br /> 爱情的轻誓终不能兑现!“(167页)[……]<br /> 性情温和，行为温顺，美如天至，都是枉然……(168页)<br /> [……]<br /> 你的渴望并非时常闪耀，也枉然!”(168页)]。)--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:00, 14 November 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> “If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.<br /> <br /> 如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”<br /> Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. <br /> ==Zhu Meimei 祝美梅==<br /> During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.<br /> ==Zhu Suyao 朱素瑶==<br /> During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.<br /> <br /> 在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)<br /> <br /> ==Zhu Xu 朱旭==<br /> Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.<br /> The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.<br /> ==Zou Xinyu 邹鑫雨==<br /> Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu<br /> <br /> 总体而言，欧洲人（以及后来的美国人）为“汉学”做出了贡献。 “汉学”曾受到理想主义者（如耶稣会成员，欧洲启蒙哲学家）和中国抨击者（如黑格尔，德国皇帝……）的严重<br /> 影响，一部世界文学中的中国作品需要历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖的认可，孔子学院在促进向外传播中国文化的工作中也取得了成功。<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 11:14, 14 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.<br /> <br /> 然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.<br /> <br /> 这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)<br /> <br /> ==Volunteer==<br /> The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[ Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”, (p. 213).] <br /> <br /> ==Volunteer==<br /> Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.<br /> <br /> This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.<br /> <br /> 孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。<br /> <br /> 这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)<br /> <br /> 孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。<br /> 这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)</div>

Wu Kai https://bou.de/u/index.php?title=20201102_trans&diff=103416 2020-11-06T12:14:48Z

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

Wu Kai https://bou.de/u/index.php?title=20201102_trans&diff=103414 2020-11-06T12:03:44Z

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

Wu Kai https://bou.de/u/index.php?title=20201026_trans&diff=102477 2020-10-30T14:41:21Z

<p>Wu Kai: /* Xie Ziyi 谢子熠 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''The Translation of Culture-loaded Words in Chinese-English Communication'''<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> ==Chang Huiyue 常慧月==<br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.<br /> <br /> 1.文化负载词的定义<br /> <br /> 在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)<br /> <br /> <br /> 1、文化负载词的定义<br /> <br /> 我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.<br /> ==Chen Hui 陈惠==<br /> Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.<br /> ==Chen Jiangning 陈江宁==<br /> In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> ==Chen Jiaxin 陈佳欣==<br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.<br /> ==Chen Jingjing 陈静静==<br /> Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> ==Chen Sha 陈莎==<br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)<br /> <br /> 巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。<br /> “中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)<br /> <br /> 巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> ==Cheng Yusi 成于思==<br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.<br /> ==Deng Jinxia 邓锦霞==<br /> The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. <br /> ==Ding Daifeng 丁代凤==<br /> The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> ==Fang Jieling 方洁玲==<br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.<br /> ==Gan Fengyu 甘奉玉==<br /> In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.<br /> <br /> 在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)<br /> <br /> 在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> 尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.<br /> <br /> 3.文化负载词的翻译方法<br /> <br /> 在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)<br /> <br /> 3.文化负载词的翻译方法<br /> 在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> 文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&quot;(王翔 2017:75)<br /> <br /> 翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.<br /> ==Gui Yizhi 桂一枝==<br /> The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. <br /> ==Guo Lu 郭露==<br /> It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> 异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)<br /> <br /> 异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)<br /> <br /> 尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.<br /> <br /> 中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)<br /> <br /> 饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.<br /> <br /> 据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)<br /> 据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)<br /> 据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> ==Hu Baihui 胡百辉==<br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.<br /> <br /> 其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)<br /> <br /> 第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> ==Ji Tiantian 纪甜甜==<br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.<br /> <br /> 异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。<br /> <br /> 3.2 翻译补偿<br /> <br /> 乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)<br /> <br /> 虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。<br /> <br /> 3.2翻译补偿法<br /> <br /> 乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> ==Jiang Hao 姜好==<br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.<br /> 翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)<br /> <br /> 翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. <br /> ==Kang Haoyu 康浩宇==<br /> If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.<br /> <br /> 如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)<br /> <br /> 如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.<br /> <br /> 即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.<br /> 翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)<br /> <br /> 如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> 目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)<br /> <br /> 对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&quot;gun power&quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.<br /> <br /> 由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)<br /> <br /> 由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.<br /> <br /> 根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> 同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.<br /> <br /> ‘4种文化相关词的不可译性’<br /> <br /> 卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili<br /> <br /> 4.文化负载词的不可译性<br /> 卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.<br /> <br /> ==Li Liqin 李丽琴==<br /> When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.<br /> <br /> 在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)<br /> <br /> 著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.<br /> <br /> 因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.<br /> <br /> ==Li Yongshan 李泳珊==<br /> In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> <br /> ==Li Yu 李玉==<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> ==Lin Min 林敏==<br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.<br /> <br /> ==Lin Xin 林鑫==<br /> The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.<br /> <br /> ==Liu Bo 刘博==<br /> By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)<br /> <br /> 通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)<br /> <br /> 依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)<br /> <br /> ==Liu Liu 刘柳==<br /> This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> <br /> 这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)<br /> <br /> 这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)<br /> <br /> ==Liu Yi 刘艺==<br /> Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.<br /> <br /> 在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)<br /> <br /> 语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> '''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''<br /> <br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.<br /> <br /> 奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)<br /> <br /> 奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.<br /> <br /> ==Ma Juan 马娟==<br /> On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> 从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。<br /> 1.2.目的论<br /> 目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> ==Ma Zhixing 马智星==<br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.<br /> <br /> ==Meng Ying 孟莹==<br /> In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> ==Mo Ling 莫玲==<br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.<br /> <br /> '''II.相同点与不同点'''<br /> <br /> '''2.1. 两种理论的相同点'''<br /> <br /> '''2.1.1. 同样重视目标受众的身份'''<br /> <br /> 功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling<br /> <br /> <br /> II 相似与不同之处<br /> <br /> 2.1 两种理论的相似之处<br /> 2.1.1. 同样高度重视目标受众的身份<br /> <br /> 功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> ==Ou Rong 欧蓉==<br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.<br /> <br /> '''2.2 两种理论的差异'''<br /> <br /> '''2.2.1 源语言和目的语言的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling<br /> <br /> '''2.2 两种理论之间的差异'''<br /> <br /> '''2.2.1 原语和目的语之间的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> ==Peng Juan 彭娟==<br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.<br /> 在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.<br /> <br /> 所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.<br /> <br /> '''2.2.2. 不同的翻译原则'''<br /> <br /> 奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> 然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)<br /> <br /> 然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.<br /> <br /> ==Qu Miao 瞿淼==<br /> And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.<br /> <br /> ==Quan Meixin 全美欣==<br /> While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> ==Sagara Seydou ==<br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.<br /> <br /> ==Shi Diwen 石迪文==<br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. <br /> <br /> ==Si Yu 司妤==<br /> For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”.<br /> <br /> ==Song Jianru 宋建茹==<br /> This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> ==Su Lin 苏琳==<br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. <br /> <br /> [[Media:Example.ogg]]==Tan Xingyue 谭星越==<br /> In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).<br /> <br /> 因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。<br /> <br /> '''2.2.5.不同的翻译过程'''<br /> <br /> 为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。<br /> --[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> <br /> ==Tang Ming 唐铭==<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> 然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming<br /> <br /> 然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> <br /> ==Tao Ye 陶冶==<br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.<br /> <br /> ==Wang Xuan 王轩==<br /> At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.<br /> <br /> 同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan<br /> <br /> 同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)<br /> <br /> 同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。<br /> 第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.<br /> <br /> 传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> 好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。<br /> <br /> 3.1.2 功能对等理论的不足<br /> <br /> 尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. <br /> <br /> ==Wen Sixing 文偲荇==<br /> Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.<br /> 虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。<br /> 此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)<br /> 尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.<br /> 但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。<br /> <br /> <br /> '''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头记》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> 我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)<br /> <br /> 功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting<br /> <br /> ==Wu Qiong 吴琼==<br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> 3.2 我对目的论的看法<br /> <br /> 3.2.1 目的论的长处与贡献<br /> <br /> 目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)<br /> <br /> 目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> 其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> 最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia<br /> <br /> 最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.<br /> <br /> 3.2.2.目的论的不足之处<br /> <br /> 然而，万物皆不完美，目的论当然也不例外。<br /> <br /> 首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling<br /> <br /> '''3.2.2. 目的论的缺陷'''<br /> <br /> 万事万物皆有不足，目的论当然也不例外。<br /> <br /> 首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)<br /> <br /> 3.2.2 目的论的不足<br /> <br /> 然而，万事皆有不足之处，目的论自然也不例外。<br /> <br /> 首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。<br /> <br /> ==Xiao Ting 肖婷==<br /> Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.<br /> <br /> 此外，若译者为了达到所谓的 &quot;翻译目的&quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing<br /> <br /> 此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，<br /> <br /> 其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling <br /> <br /> 此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> 当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。<br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> 3.2.3.我对目的论的看法<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining<br /> <br /> 当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities.<br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔（Hans Vermeer）提出的目的论是西方翻译理论研究的重大理论突破，对指导成功的翻译实践也起着重要的作用。<br /> <br /> '''四，结论'''<br /> <br /> 通过以上比较，我们发现功能对等理论和目的论都有各自的优势和劣势，两者之间的差异大于相似之处。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:30, 30 October 2020 (UTC)<br /> <br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔提出的翻译目的论是西方翻译理论研究的重大理论突破，对成功的翻译实践具有重要的指导作用。<br /> <br /> '''四，结论'''<br /> <br /> 通过以上的比较，我们发现功能对等理论和目的论各有优缺点，其差异大于相似性。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:38, 30 October 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> ==Xu Jing 许晶==<br /> '''Comparative Study on Functional Equivalence Theory and Skopos Theory'''<br /> <br /> <br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.<br /> <br /> <br /> '''功能对等理论与目的论的比较研究'''<br /> <br /> '''引言'''<br /> <br /> '''研究背景'''<br /> <br /> 当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.<br /> <br /> 该研究的重要性<br /> <br /> 通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。<br /> <br /> 章节布局<br /> <br /> 本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> <br /> '''研究意义'''<br /> <br /> 通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。<br /> <br /> '''章节布局'''<br /> <br /> 本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> 第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。<br /> '''1. A brief introduction of Functional equivalence theory'''<br /> 1.功能对等理论的简介<br /> '''1.1 The definition of functional equivalence theory'''<br /> 1.1功能对等理论的定义<br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> 第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> 1.功能对等理论的简介<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> 1.1功能对等理论的定义<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> <br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.<br /> <br /> 他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting<br /> <br /> 他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Hairong 杨海容==<br /> Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> ==Yang Hui 阳慧==<br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.<br /> <br /> Example:“来吧，朋友!”<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> 这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。<br /> <br /> “1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)<br /> <br /> 这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。<br /> 1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.<br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> 汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)<br /> <br /> <br /> 汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.<br /> Example: “as white as snow.”<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.<br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.<br /> 20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)<br /> <br /> 在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> 一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> 第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.<br /> <br /> 第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)<br /> <br /> 第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.<br /> <br /> 译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。<br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> 第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).<br /> <br /> 2.2 目的论的定义<br /> <br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)<br /> <br /> 2.2 目的论的定义<br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过例子来呈现对于这些规则的具体分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过示例对这些规则进行详细分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> 因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> 如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.<br /> 通顺原则<br /> 通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)<br /> 2.3.2 连贯性原则<br /> 连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.<br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.<br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.<br /> <br /> 本章将主要讨论功能对等理论和目的论的异同。<br /> <br /> 3.1 差异<br /> <br /> 3.1.1 理论基础的差异<br /> <br /> 美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)<br /> <br /> <br /> 本章将主要讨论功能对等理论与目的论之间的异同。<br /> <br /> 3.1差异<br /> <br /> 3.1.1不同的理论基础<br /> <br /> 早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees.<br /> <br /> 奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)<br /> 奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> 根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)<br /> <br /> 根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.<br /> 目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)<br /> <br /> 目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> '3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> 弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）<br /> '''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> 译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似性<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)<br /> <br /> 译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似之处<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot;<br /> <br /> 因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。<br /> <br /> 尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> '''Conclusion'''<br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.</div>

Wu Kai https://bou.de/u/index.php?title=20201026_trans&diff=102476 2020-10-30T14:40:24Z

<p>Wu Kai: /* Xie Ziyi 谢子熠 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''The Translation of Culture-loaded Words in Chinese-English Communication'''<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> ==Chang Huiyue 常慧月==<br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.<br /> <br /> 1.文化负载词的定义<br /> <br /> 在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)<br /> <br /> <br /> 1、文化负载词的定义<br /> <br /> 我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.<br /> ==Chen Hui 陈惠==<br /> Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.<br /> ==Chen Jiangning 陈江宁==<br /> In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> ==Chen Jiaxin 陈佳欣==<br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.<br /> ==Chen Jingjing 陈静静==<br /> Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> ==Chen Sha 陈莎==<br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)<br /> <br /> 巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。<br /> “中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)<br /> <br /> 巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> ==Cheng Yusi 成于思==<br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.<br /> ==Deng Jinxia 邓锦霞==<br /> The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. <br /> ==Ding Daifeng 丁代凤==<br /> The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> ==Fang Jieling 方洁玲==<br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.<br /> ==Gan Fengyu 甘奉玉==<br /> In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.<br /> <br /> 在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)<br /> <br /> 在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> 尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.<br /> <br /> 3.文化负载词的翻译方法<br /> <br /> 在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)<br /> <br /> 3.文化负载词的翻译方法<br /> 在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> 文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&quot;(王翔 2017:75)<br /> <br /> 翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.<br /> ==Gui Yizhi 桂一枝==<br /> The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. <br /> ==Guo Lu 郭露==<br /> It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> 异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)<br /> <br /> 异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)<br /> <br /> 尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.<br /> <br /> 中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)<br /> <br /> 饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.<br /> <br /> 据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)<br /> 据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)<br /> 据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> ==Hu Baihui 胡百辉==<br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.<br /> <br /> 其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)<br /> <br /> 第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> ==Ji Tiantian 纪甜甜==<br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.<br /> <br /> 异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。<br /> <br /> 3.2 翻译补偿<br /> <br /> 乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)<br /> <br /> 虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。<br /> <br /> 3.2翻译补偿法<br /> <br /> 乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> ==Jiang Hao 姜好==<br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.<br /> 翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)<br /> <br /> 翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. <br /> ==Kang Haoyu 康浩宇==<br /> If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.<br /> <br /> 如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)<br /> <br /> 如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.<br /> <br /> 即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.<br /> 翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)<br /> <br /> 如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> 目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)<br /> <br /> 对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&quot;gun power&quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.<br /> <br /> 由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)<br /> <br /> 由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.<br /> <br /> 根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> 同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.<br /> <br /> ‘4种文化相关词的不可译性’<br /> <br /> 卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili<br /> <br /> 4.文化负载词的不可译性<br /> 卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.<br /> <br /> ==Li Liqin 李丽琴==<br /> When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.<br /> <br /> 在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)<br /> <br /> 著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.<br /> <br /> 因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.<br /> <br /> ==Li Yongshan 李泳珊==<br /> In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> <br /> ==Li Yu 李玉==<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> ==Lin Min 林敏==<br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.<br /> <br /> ==Lin Xin 林鑫==<br /> The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.<br /> <br /> ==Liu Bo 刘博==<br /> By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)<br /> <br /> 通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)<br /> <br /> 依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)<br /> <br /> ==Liu Liu 刘柳==<br /> This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> <br /> 这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)<br /> <br /> 这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)<br /> <br /> ==Liu Yi 刘艺==<br /> Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.<br /> <br /> 在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)<br /> <br /> 语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> '''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''<br /> <br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.<br /> <br /> 奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)<br /> <br /> 奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.<br /> <br /> ==Ma Juan 马娟==<br /> On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> 从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。<br /> 1.2.目的论<br /> 目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> ==Ma Zhixing 马智星==<br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.<br /> <br /> ==Meng Ying 孟莹==<br /> In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> ==Mo Ling 莫玲==<br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.<br /> <br /> '''II.相同点与不同点'''<br /> <br /> '''2.1. 两种理论的相同点'''<br /> <br /> '''2.1.1. 同样重视目标受众的身份'''<br /> <br /> 功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling<br /> <br /> <br /> II 相似与不同之处<br /> <br /> 2.1 两种理论的相似之处<br /> 2.1.1. 同样高度重视目标受众的身份<br /> <br /> 功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> ==Ou Rong 欧蓉==<br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.<br /> <br /> '''2.2 两种理论的差异'''<br /> <br /> '''2.2.1 源语言和目的语言的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling<br /> <br /> '''2.2 两种理论之间的差异'''<br /> <br /> '''2.2.1 原语和目的语之间的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> ==Peng Juan 彭娟==<br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.<br /> 在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.<br /> <br /> 所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.<br /> <br /> '''2.2.2. 不同的翻译原则'''<br /> <br /> 奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> 然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)<br /> <br /> 然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.<br /> <br /> ==Qu Miao 瞿淼==<br /> And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.<br /> <br /> ==Quan Meixin 全美欣==<br /> While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> ==Sagara Seydou ==<br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.<br /> <br /> ==Shi Diwen 石迪文==<br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. <br /> <br /> ==Si Yu 司妤==<br /> For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”.<br /> <br /> ==Song Jianru 宋建茹==<br /> This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> ==Su Lin 苏琳==<br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. <br /> <br /> [[Media:Example.ogg]]==Tan Xingyue 谭星越==<br /> In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).<br /> <br /> 因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。<br /> <br /> '''2.2.5.不同的翻译过程'''<br /> <br /> 为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。<br /> --[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> <br /> ==Tang Ming 唐铭==<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> 然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming<br /> <br /> 然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> <br /> ==Tao Ye 陶冶==<br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.<br /> <br /> ==Wang Xuan 王轩==<br /> At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.<br /> <br /> 同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan<br /> <br /> 同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)<br /> <br /> 同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。<br /> 第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.<br /> <br /> 传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> 好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。<br /> <br /> 3.1.2 功能对等理论的不足<br /> <br /> 尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. <br /> <br /> ==Wen Sixing 文偲荇==<br /> Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.<br /> 虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。<br /> 此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)<br /> 尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.<br /> 但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。<br /> <br /> <br /> '''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头记》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> 我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)<br /> <br /> 功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting<br /> <br /> ==Wu Qiong 吴琼==<br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> 3.2 我对目的论的看法<br /> <br /> 3.2.1 目的论的长处与贡献<br /> <br /> 目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)<br /> <br /> 目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> 其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> 最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia<br /> <br /> 最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.<br /> <br /> 3.2.2.目的论的不足之处<br /> <br /> 然而，万物皆不完美，目的论当然也不例外。<br /> <br /> 首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling<br /> <br /> '''3.2.2. 目的论的缺陷'''<br /> <br /> 万事万物皆有不足，目的论当然也不例外。<br /> <br /> 首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)<br /> <br /> 3.2.2 目的论的不足<br /> <br /> 然而，万事皆有不足之处，目的论自然也不例外。<br /> <br /> 首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。<br /> <br /> ==Xiao Ting 肖婷==<br /> Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.<br /> <br /> 此外，若译者为了达到所谓的 &quot;翻译目的&quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing<br /> <br /> 此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，<br /> <br /> 其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling <br /> <br /> 此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> 当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。<br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> 3.2.3.我对目的论的看法<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining<br /> <br /> 当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities.<br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔（Hans Vermeer）提出的目的论是西方翻译理论研究的重大理论突破，对指导成功的翻译实践也起着重要的作用。<br /> <br /> '''四，结论'''<br /> <br /> <br /> 通过以上比较，我们发现功能对等理论和目的论都有各自的优势和劣势，两者之间的差异大于相似之处。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:30, 30 October 2020 (UTC)<br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔提出的翻译目的论是西方翻译理论研究的重大理论突破，对成功的翻译实践具有重要的指导作用。<br /> <br /> '''四，结论'''<br /> <br /> 通过以上的比较，我们发现功能对等理论和目的论各有优缺点，其差异大于相似性。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:38, 30 October 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> ==Xu Jing 许晶==<br /> '''Comparative Study on Functional Equivalence Theory and Skopos Theory'''<br /> <br /> <br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.<br /> <br /> <br /> '''功能对等理论与目的论的比较研究'''<br /> <br /> '''引言'''<br /> <br /> '''研究背景'''<br /> <br /> 当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.<br /> <br /> 该研究的重要性<br /> <br /> 通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。<br /> <br /> 章节布局<br /> <br /> 本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> <br /> '''研究意义'''<br /> <br /> 通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。<br /> <br /> '''章节布局'''<br /> <br /> 本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> 第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。<br /> '''1. A brief introduction of Functional equivalence theory'''<br /> 1.功能对等理论的简介<br /> '''1.1 The definition of functional equivalence theory'''<br /> 1.1功能对等理论的定义<br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> 第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> 1.功能对等理论的简介<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> 1.1功能对等理论的定义<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> <br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.<br /> <br /> 他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting<br /> <br /> 他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Hairong 杨海容==<br /> Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> ==Yang Hui 阳慧==<br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.<br /> <br /> Example:“来吧，朋友!”<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> 这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。<br /> <br /> “1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)<br /> <br /> 这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。<br /> 1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.<br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> 汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)<br /> <br /> <br /> 汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.<br /> Example: “as white as snow.”<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.<br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.<br /> 20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)<br /> <br /> 在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> 一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> 第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.<br /> <br /> 第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)<br /> <br /> 第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.<br /> <br /> 译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。<br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> 第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).<br /> <br /> 2.2 目的论的定义<br /> <br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)<br /> <br /> 2.2 目的论的定义<br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过例子来呈现对于这些规则的具体分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过示例对这些规则进行详细分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> 因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> 如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.<br /> 通顺原则<br /> 通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)<br /> 2.3.2 连贯性原则<br /> 连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.<br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.<br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.<br /> <br /> 本章将主要讨论功能对等理论和目的论的异同。<br /> <br /> 3.1 差异<br /> <br /> 3.1.1 理论基础的差异<br /> <br /> 美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)<br /> <br /> <br /> 本章将主要讨论功能对等理论与目的论之间的异同。<br /> <br /> 3.1差异<br /> <br /> 3.1.1不同的理论基础<br /> <br /> 早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees.<br /> <br /> 奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)<br /> 奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> 根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)<br /> <br /> 根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.<br /> 目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)<br /> <br /> 目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> '3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> 弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）<br /> '''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> 译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似性<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)<br /> <br /> 译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似之处<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot;<br /> <br /> 因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。<br /> <br /> 尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> '''Conclusion'''<br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.</div>

Wu Kai https://bou.de/u/index.php?title=20201026_trans&diff=102475 2020-10-30T14:38:42Z

<p>Wu Kai: /* Xie Ziyi 谢子熠 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''The Translation of Culture-loaded Words in Chinese-English Communication'''<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> ==Chang Huiyue 常慧月==<br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.<br /> <br /> 1.文化负载词的定义<br /> <br /> 在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)<br /> <br /> <br /> 1、文化负载词的定义<br /> <br /> 我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.<br /> ==Chen Hui 陈惠==<br /> Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.<br /> ==Chen Jiangning 陈江宁==<br /> In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> ==Chen Jiaxin 陈佳欣==<br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.<br /> ==Chen Jingjing 陈静静==<br /> Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> ==Chen Sha 陈莎==<br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)<br /> <br /> 巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。<br /> “中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)<br /> <br /> 巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> ==Cheng Yusi 成于思==<br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.<br /> ==Deng Jinxia 邓锦霞==<br /> The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. <br /> ==Ding Daifeng 丁代凤==<br /> The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> ==Fang Jieling 方洁玲==<br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.<br /> ==Gan Fengyu 甘奉玉==<br /> In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.<br /> <br /> 在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)<br /> <br /> 在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> 尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.<br /> <br /> 3.文化负载词的翻译方法<br /> <br /> 在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)<br /> <br /> 3.文化负载词的翻译方法<br /> 在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> 文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&quot;(王翔 2017:75)<br /> <br /> 翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.<br /> ==Gui Yizhi 桂一枝==<br /> The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. <br /> ==Guo Lu 郭露==<br /> It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> 异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)<br /> <br /> 异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)<br /> <br /> 尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.<br /> <br /> 中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)<br /> <br /> 饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.<br /> <br /> 据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)<br /> 据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)<br /> 据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> ==Hu Baihui 胡百辉==<br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.<br /> <br /> 其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)<br /> <br /> 第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> ==Ji Tiantian 纪甜甜==<br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.<br /> <br /> 异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。<br /> <br /> 3.2 翻译补偿<br /> <br /> 乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)<br /> <br /> 虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。<br /> <br /> 3.2翻译补偿法<br /> <br /> 乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> ==Jiang Hao 姜好==<br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.<br /> 翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)<br /> <br /> 翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. <br /> ==Kang Haoyu 康浩宇==<br /> If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.<br /> <br /> 如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)<br /> <br /> 如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.<br /> <br /> 即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.<br /> 翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)<br /> <br /> 如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> 目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)<br /> <br /> 对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&quot;gun power&quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.<br /> <br /> 由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)<br /> <br /> 由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.<br /> <br /> 根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> 同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.<br /> <br /> ‘4种文化相关词的不可译性’<br /> <br /> 卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili<br /> <br /> 4.文化负载词的不可译性<br /> 卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.<br /> <br /> ==Li Liqin 李丽琴==<br /> When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.<br /> <br /> 在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)<br /> <br /> 著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.<br /> <br /> 因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.<br /> <br /> ==Li Yongshan 李泳珊==<br /> In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> <br /> ==Li Yu 李玉==<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> ==Lin Min 林敏==<br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.<br /> <br /> ==Lin Xin 林鑫==<br /> The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.<br /> <br /> ==Liu Bo 刘博==<br /> By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)<br /> <br /> 通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)<br /> <br /> 依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)<br /> <br /> ==Liu Liu 刘柳==<br /> This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> <br /> 这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)<br /> <br /> 这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)<br /> <br /> ==Liu Yi 刘艺==<br /> Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.<br /> <br /> 在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)<br /> <br /> 语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> '''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''<br /> <br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.<br /> <br /> 奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)<br /> <br /> 奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.<br /> <br /> ==Ma Juan 马娟==<br /> On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> 从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。<br /> 1.2.目的论<br /> 目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> ==Ma Zhixing 马智星==<br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.<br /> <br /> ==Meng Ying 孟莹==<br /> In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> ==Mo Ling 莫玲==<br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.<br /> <br /> '''II.相同点与不同点'''<br /> <br /> '''2.1. 两种理论的相同点'''<br /> <br /> '''2.1.1. 同样重视目标受众的身份'''<br /> <br /> 功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling<br /> <br /> <br /> II 相似与不同之处<br /> <br /> 2.1 两种理论的相似之处<br /> 2.1.1. 同样高度重视目标受众的身份<br /> <br /> 功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> ==Ou Rong 欧蓉==<br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.<br /> <br /> '''2.2 两种理论的差异'''<br /> <br /> '''2.2.1 源语言和目的语言的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling<br /> <br /> '''2.2 两种理论之间的差异'''<br /> <br /> '''2.2.1 原语和目的语之间的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> ==Peng Juan 彭娟==<br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.<br /> 在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.<br /> <br /> 所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.<br /> <br /> '''2.2.2. 不同的翻译原则'''<br /> <br /> 奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> 然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)<br /> <br /> 然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.<br /> <br /> ==Qu Miao 瞿淼==<br /> And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.<br /> <br /> ==Quan Meixin 全美欣==<br /> While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> ==Sagara Seydou ==<br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.<br /> <br /> ==Shi Diwen 石迪文==<br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. <br /> <br /> ==Si Yu 司妤==<br /> For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”.<br /> <br /> ==Song Jianru 宋建茹==<br /> This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> ==Su Lin 苏琳==<br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. <br /> <br /> [[Media:Example.ogg]]==Tan Xingyue 谭星越==<br /> In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).<br /> <br /> 因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。<br /> <br /> '''2.2.5.不同的翻译过程'''<br /> <br /> 为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。<br /> --[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> <br /> ==Tang Ming 唐铭==<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> 然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming<br /> <br /> 然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> <br /> ==Tao Ye 陶冶==<br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.<br /> <br /> ==Wang Xuan 王轩==<br /> At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.<br /> <br /> 同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan<br /> <br /> 同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)<br /> <br /> 同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。<br /> 第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.<br /> <br /> 传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> 好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。<br /> <br /> 3.1.2 功能对等理论的不足<br /> <br /> 尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. <br /> <br /> ==Wen Sixing 文偲荇==<br /> Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.<br /> 虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。<br /> 此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)<br /> 尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.<br /> 但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。<br /> <br /> <br /> '''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头记》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> 我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)<br /> <br /> 功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting<br /> <br /> ==Wu Qiong 吴琼==<br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> 3.2 我对目的论的看法<br /> <br /> 3.2.1 目的论的长处与贡献<br /> <br /> 目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)<br /> <br /> 目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> 其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> 最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia<br /> <br /> 最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.<br /> <br /> 3.2.2.目的论的不足之处<br /> <br /> 然而，万物皆不完美，目的论当然也不例外。<br /> <br /> 首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling<br /> <br /> '''3.2.2. 目的论的缺陷'''<br /> <br /> 万事万物皆有不足，目的论当然也不例外。<br /> <br /> 首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)<br /> <br /> 3.2.2 目的论的不足<br /> <br /> 然而，万事皆有不足之处，目的论自然也不例外。<br /> <br /> 首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。<br /> <br /> ==Xiao Ting 肖婷==<br /> Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.<br /> <br /> 此外，若译者为了达到所谓的 &quot;翻译目的&quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing<br /> <br /> 此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，<br /> <br /> 其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling <br /> <br /> 此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> 当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。<br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> 3.2.3.我对目的论的看法<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining<br /> <br /> 当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities.<br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔（Hans Vermeer）提出的目的论是西方翻译理论研究的重大理论突破，对指导成功的翻译实践也起着重要的作用。<br /> <br /> '''四，结论'''<br /> <br /> 通过以上比较，我们发现功能对等理论和目的论都有各自的优势和劣势，两者之间的差异大于相似之处。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:30, 30 October 2020 (UTC)<br /> <br /> 人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔提出的翻译目的论是西方翻译理论研究的重大理论突破，对成功的翻译实践具有重要的指导作用。<br /> <br /> '''四，结论'''<br /> <br /> 通过以上的比较，我们发现功能对等理论和目的论各有优缺点，其差异大于相似性。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:38, 30 October 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> ==Xu Jing 许晶==<br /> '''Comparative Study on Functional Equivalence Theory and Skopos Theory'''<br /> <br /> <br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.<br /> <br /> <br /> '''功能对等理论与目的论的比较研究'''<br /> <br /> '''引言'''<br /> <br /> '''研究背景'''<br /> <br /> 当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.<br /> <br /> 该研究的重要性<br /> <br /> 通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。<br /> <br /> 章节布局<br /> <br /> 本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> <br /> '''研究意义'''<br /> <br /> 通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。<br /> <br /> '''章节布局'''<br /> <br /> 本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> 第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。<br /> '''1. A brief introduction of Functional equivalence theory'''<br /> 1.功能对等理论的简介<br /> '''1.1 The definition of functional equivalence theory'''<br /> 1.1功能对等理论的定义<br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> 第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> 1.功能对等理论的简介<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> 1.1功能对等理论的定义<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> <br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.<br /> <br /> 他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting<br /> <br /> 他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Hairong 杨海容==<br /> Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> ==Yang Hui 阳慧==<br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.<br /> <br /> Example:“来吧，朋友!”<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> 这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。<br /> <br /> “1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)<br /> <br /> 这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。<br /> 1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.<br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> 汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)<br /> <br /> <br /> 汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.<br /> Example: “as white as snow.”<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.<br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.<br /> 20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)<br /> <br /> 在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> 一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> 第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.<br /> <br /> 第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)<br /> <br /> 第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.<br /> <br /> 译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。<br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> 第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).<br /> <br /> 2.2 目的论的定义<br /> <br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)<br /> <br /> 2.2 目的论的定义<br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过例子来呈现对于这些规则的具体分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过示例对这些规则进行详细分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> 因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> 如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.<br /> 通顺原则<br /> 通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)<br /> 2.3.2 连贯性原则<br /> 连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.<br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.<br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.<br /> <br /> 本章将主要讨论功能对等理论和目的论的异同。<br /> <br /> 3.1 差异<br /> <br /> 3.1.1 理论基础的差异<br /> <br /> 美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)<br /> <br /> <br /> 本章将主要讨论功能对等理论与目的论之间的异同。<br /> <br /> 3.1差异<br /> <br /> 3.1.1不同的理论基础<br /> <br /> 早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees.<br /> <br /> 奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)<br /> 奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> 根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)<br /> <br /> 根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.<br /> 目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)<br /> <br /> 目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> '3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> 弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）<br /> '''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> 译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似性<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)<br /> <br /> 译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似之处<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot;<br /> <br /> 因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。<br /> <br /> 尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> '''Conclusion'''<br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.</div>

Wu Kai https://bou.de/u/index.php?title=20201026_trans&diff=102469 2020-10-30T14:22:03Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> '''The Translation of Culture-loaded Words in Chinese-English Communication'''<br /> <br /> As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.<br /> ==Chang Huiyue 常慧月==<br /> '''1 The Definition of Culture-loaded Words'''<br /> <br /> Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.<br /> <br /> 1.文化负载词的定义<br /> <br /> 在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)<br /> <br /> <br /> 1、文化负载词的定义<br /> <br /> 我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)<br /> <br /> ==Chen Han 陈涵==<br /> In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.<br /> ==Chen Hui 陈惠==<br /> Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.<br /> ==Chen Jiangning 陈江宁==<br /> In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:127-128) <br /> ==Chen Jiaxin 陈佳欣==<br /> “Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.<br /> ==Chen Jingjing 陈静静==<br /> Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate. <br /> ==Chen Sha 陈莎==<br /> '''2 Difficulties in the Translation of Culture-loaded Words'''<br /> <br /> Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.<br /> <br /> ==Chen Sunfu 谌孙福==<br /> The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. <br /> <br /> “There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)<br /> <br /> 巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。<br /> “中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)<br /> <br /> 巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.<br /> ==Cheng Yusi 成于思==<br /> China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &quot;the descendants of the dragon&quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.<br /> ==Deng Jinxia 邓锦霞==<br /> The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. <br /> ==Ding Daifeng 丁代凤==<br /> The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &quot;great dragon&quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238) <br /> ==Fang Jieling 方洁玲==<br /> Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.<br /> ==Gan Fengyu 甘奉玉==<br /> In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.<br /> <br /> 在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)<br /> <br /> 在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)<br /> <br /> ==Gao Mingzhu 高明珠==<br /> Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.<br /> <br /> 尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> '''3 Approaches to Translate Culture-loaded Words'''<br /> <br /> Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.<br /> <br /> 3.文化负载词的翻译方法<br /> <br /> 在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)<br /> <br /> 3.文化负载词的翻译方法<br /> 在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)<br /> <br /> 文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&quot;(王翔 2017:75)<br /> <br /> 翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)<br /> <br /> ==Guan Qinqing 管钦清==<br /> '''3.1 Foreignization'''<br /> <br /> Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.<br /> ==Gui Yizhi 桂一枝==<br /> The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.<br /> Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. <br /> ==Guo Lu 郭露==<br /> It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.<br /> <br /> 异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)<br /> <br /> 异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)<br /> <br /> 尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Han Haiyang 韩海洋==<br /> The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.<br /> <br /> 中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)<br /> <br /> 饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> “It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.<br /> <br /> 据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)<br /> 据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)<br /> 据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.<br /> ==Hu Baihui 胡百辉==<br /> Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.<br /> <br /> 其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)<br /> <br /> 第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)<br /> <br /> ==Hu Huifang 胡慧芳==<br /> For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)<br /> <br /> 例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)<br /> <br /> ==Hu Jin 胡瑾==<br /> For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”. (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.<br /> ==Ji Tiantian 纪甜甜==<br /> Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.<br /> <br /> '''3.2 Translation compensation'''<br /> <br /> George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.<br /> <br /> 异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。<br /> <br /> 3.2 翻译补偿<br /> <br /> 乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)<br /> <br /> 虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。<br /> <br /> 3.2翻译补偿法<br /> <br /> 乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.<br /> ==Jiang Hao 姜好==<br /> The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.<br /> 翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)<br /> <br /> 翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. <br /> ==Kang Haoyu 康浩宇==<br /> If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.<br /> <br /> 如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)<br /> <br /> 如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.<br /> <br /> 即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.<br /> 翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)<br /> <br /> 如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)<br /> <br /> ==Kong Yanan 孔亚楠==<br /> The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.<br /> <br /> 目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)<br /> <br /> 对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&quot;gun power&quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.<br /> <br /> 由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)<br /> <br /> 由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.<br /> <br /> 根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.<br /> <br /> 同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> '''4 Untranslatability of Culture-loaded Words'''<br /> <br /> Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.<br /> <br /> ‘4种文化相关词的不可译性’<br /> <br /> 卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili<br /> <br /> 4.文化负载词的不可译性<br /> 卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)<br /> <br /> ==Li Lingyue 李凌月==<br /> But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.<br /> <br /> ==Li Liqin 李丽琴==<br /> When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.<br /> <br /> 在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)<br /> <br /> 著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.<br /> <br /> 因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)<br /> <br /> ==Li Meng 李梦==<br /> Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.<br /> <br /> ==Li Yongshan 李泳珊==<br /> In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)<br /> <br /> ==Li Yu 李玉==<br /> Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.<br /> <br /> ==Lin Min 林敏==<br /> '''5 The Interpreter’s Translation of Culture-loaded Words'''<br /> <br /> Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.<br /> <br /> ==Lin Xin 林鑫==<br /> The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.<br /> <br /> ==Ling Zijin 凌子瑾==<br /> The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.<br /> <br /> ==Liu Bo 刘博==<br /> By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)<br /> <br /> 通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)<br /> <br /> 依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)<br /> <br /> ==Liu Liu 刘柳==<br /> This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.<br /> <br /> 这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)<br /> <br /> 这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)<br /> <br /> ==Liu Ou 刘欧==<br /> Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> '''6 Conclusion'''<br /> <br /> “Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)<br /> <br /> ==Liu Yi 刘艺==<br /> Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.<br /> <br /> 在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)<br /> <br /> 语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> '''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''<br /> <br /> <br /> '''(1)Introduction'''<br /> <br /> '''1.1. Functional Equivalence Theory'''<br /> <br /> In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.<br /> <br /> ==Lou Cancan 娄灿灿==<br /> In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.<br /> <br /> ==Luo Weijia 罗维嘉==<br /> Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.<br /> <br /> 奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)<br /> <br /> 奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.<br /> <br /> ==Ma Juan 马娟==<br /> On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. <br /> <br /> '''1.2. Skopos Theory'''<br /> <br /> Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.<br /> <br /> 从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。<br /> 1.2.目的论<br /> 目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)<br /> <br /> ==Ma Shuya 马淑雅==<br /> Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.<br /> <br /> ==Ma Zhixing 马智星==<br /> Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.<br /> <br /> Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.<br /> <br /> ==Meng Ying 孟莹==<br /> In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.<br /> <br /> Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)<br /> <br /> ==Mo Ling 莫玲==<br /> '''II.Similarities and Differences'''<br /> <br /> '''2.1. The Similarities between the Two Theories'''<br /> <br /> '''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''<br /> <br /> Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.<br /> <br /> '''II.相同点与不同点'''<br /> <br /> '''2.1. 两种理论的相同点'''<br /> <br /> '''2.1.1. 同样重视目标受众的身份'''<br /> <br /> 功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling<br /> <br /> <br /> II 相似与不同之处<br /> <br /> 2.1 两种理论的相似之处<br /> 2.1.1. 同样高度重视目标受众的身份<br /> <br /> 功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)<br /> <br /> ==Mo Nan 莫南==<br /> Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.<br /> <br /> While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.<br /> <br /> ==Ou Rong 欧蓉==<br /> '''2.1.2. Both Emphasize the Communicative Function of Translation'''<br /> <br /> Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> '''2.2 The Differences between the Two Theories'''<br /> <br /> '''2.2.1. Different Status of the Source Language and the Target Language'''<br /> <br /> From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.<br /> <br /> '''2.2 两种理论的差异'''<br /> <br /> '''2.2.1 源语言和目的语言的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling<br /> <br /> '''2.2 两种理论之间的差异'''<br /> <br /> '''2.2.1 原语和目的语之间的地位差异'''<br /> <br /> 功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)<br /> <br /> ==Peng Dan 彭丹==<br /> From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.<br /> <br /> ==Peng Juan 彭娟==<br /> Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.<br /> 在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.<br /> <br /> 所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 (UTC)<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> '''2.2.2. Different Translation Principles'''<br /> <br /> Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.<br /> <br /> '''2.2.2. 不同的翻译原则'''<br /> <br /> 奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.<br /> <br /> In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.<br /> <br /> 然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)<br /> <br /> 然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> '''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''<br /> <br /> In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.<br /> <br /> ==Qu Miao 瞿淼==<br /> And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.<br /> <br /> ==Quan Meixin 全美欣==<br /> While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.<br /> <br /> ==Sagara Seydou ==<br /> However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.<br /> <br /> ==Shi Diwen 石迪文==<br /> Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. <br /> <br /> ==Shi Haiyao 石海瑶==<br /> However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept. <br /> <br /> ==Si Yu 司妤==<br /> For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&quot; instead of “man proposals, God disposes”.<br /> <br /> ==Song Jianru 宋建茹==<br /> This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading. <br /> <br /> ==Su Lin 苏琳==<br /> '''2.2.4. Different Status of the Translator'''<br /> <br /> In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. <br /> <br /> [[Media:Example.ogg]]==Tan Xingyue 谭星越==<br /> In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)<br /> <br /> 此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.<br /> <br /> '''2.2.5. Different translation processes'''<br /> <br /> In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).<br /> <br /> 因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。<br /> <br /> '''2.2.5.不同的翻译过程'''<br /> <br /> 为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。<br /> --[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)<br /> <br /> ==Tang Ming 唐铭==<br /> Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.<br /> 然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。<br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming<br /> <br /> 然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> '''III.My Thoughts on the Two Theories''' <br /> <br /> '''3.1. My thought on Functional Equivalence Theory'''<br /> <br /> '''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''<br /> <br /> Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. <br /> <br /> <br /> ==Tao Ye 陶冶==<br /> Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.<br /> <br /> ==Wang Xuan 王轩==<br /> At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.<br /> <br /> Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.<br /> <br /> 同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan<br /> <br /> 同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。<br /> 第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)<br /> <br /> 同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。<br /> 第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Wang Yu 王煜==<br /> Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.<br /> <br /> 传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)<br /> <br /> ==Wang Yuan 王源==<br /> Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” . <br /> <br /> '''3.1.2. Deficiency of Functional Equivalence Theory'''<br /> <br /> Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.<br /> <br /> 好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。<br /> <br /> 3.1.2 功能对等理论的不足<br /> <br /> 尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)<br /> <br /> ==Wei Honglang 韦洪朗==<br /> First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. <br /> <br /> ==Wei Yafei 魏亚菲==<br /> Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.<br /> Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. <br /> <br /> ==Wen Sixing 文偲荇==<br /> Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.<br /> <br /> In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.<br /> 虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。<br /> 此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)<br /> 尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.<br /> 但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. <br /> <br /> '''3.1.3. My Point of View towards Functional Equivalence Theory'''<br /> <br /> 例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。<br /> <br /> <br /> '''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.<br /> <br /> 我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)<br /> <br /> 功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting<br /> <br /> ==Wu Qiong 吴琼==<br /> '''3.2. My thoughts on Skopos Theory''' <br /> <br /> '''3.2.1. Strengths and Contributions of Skopos Theory'''<br /> <br /> Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.<br /> <br /> 3.2 我对目的论的看法<br /> <br /> 3.2.1 目的论的长处与贡献<br /> <br /> 目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)<br /> <br /> 目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.<br /> <br /> 其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)<br /> <br /> ==Wu Yilu 吴一露==<br /> Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.<br /> <br /> ==Wu Zijia 吴子佳==<br /> Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.<br /> <br /> 最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia<br /> <br /> 最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> '''3.2.2. Deficiency of Skopos Theory'''<br /> <br /> However, all thing is not perfect, Skopos theory is no exception, of course.<br /> <br /> Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.<br /> <br /> 3.2.2.目的论的不足之处<br /> <br /> 然而，万物皆不完美，目的论当然也不例外。<br /> <br /> 首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling<br /> <br /> '''3.2.2. 目的论的缺陷'''<br /> <br /> 万事万物皆有不足，目的论当然也不例外。<br /> <br /> 首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)<br /> <br /> 3.2.2 目的论的不足<br /> <br /> 然而，万事皆有不足之处，目的论自然也不例外。<br /> <br /> 首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。<br /> <br /> ==Xiao Ting 肖婷==<br /> Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.<br /> <br /> Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.<br /> <br /> 此外，若译者为了达到所谓的 &quot;翻译目的&quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing<br /> <br /> 此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，<br /> <br /> 其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling <br /> <br /> 此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。<br /> <br /> 其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.<br /> <br /> Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements. <br /> <br /> 当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。<br /> <br /> '''3.2.3. My Point of View towards Skopos Theory'''<br /> <br /> 3.2.3.我对目的论的看法<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining<br /> <br /> 当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)<br /> <br /> ==Xie Fan 解帆==<br /> There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.<br /> <br /> '''IV.Conclusion'''<br /> <br /> Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities. <br /> <br /> ==Xu Jia 徐佳==<br /> Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.<br /> <br /> ==Xu Jing 许晶==<br /> '''Comparative Study on Functional Equivalence Theory and Skopos Theory'''<br /> <br /> <br /> <br /> '''Introduction'''<br /> <br /> '''Research background'''<br /> <br /> Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &quot;functional equivalence theory&quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.<br /> <br /> <br /> '''功能对等理论与目的论的比较研究'''<br /> <br /> '''引言'''<br /> <br /> '''研究背景'''<br /> <br /> 当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> '''Significance of the study'''<br /> <br /> By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.<br /> <br /> '''Layout of this chapter'''<br /> <br /> This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.<br /> <br /> 该研究的重要性<br /> <br /> 通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。<br /> <br /> 章节布局<br /> <br /> 本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> <br /> '''研究意义'''<br /> <br /> 通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。<br /> <br /> '''章节布局'''<br /> <br /> 本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> 第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。<br /> '''1. A brief introduction of Functional equivalence theory'''<br /> 1.功能对等理论的简介<br /> '''1.1 The definition of functional equivalence theory'''<br /> 1.1功能对等理论的定义<br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.<br /> <br /> 第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。<br /> <br /> '''1. A brief introduction of Functional equivalence theory'''<br /> <br /> 1.功能对等理论的简介<br /> <br /> '''1.1 The definition of functional equivalence theory'''<br /> <br /> 1.1功能对等理论的定义<br /> <br /> Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.<br /> <br /> 功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining<br /> <br /> ==Yang Chenting 杨晨婷==<br /> He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.<br /> <br /> 他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting<br /> <br /> 他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Hairong 杨海容==<br /> Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).<br /> <br /> '''1.2 The criteria of functional equivalence theory'''<br /> <br /> Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): <br /> <br /> '''1.2.1 Conveying information'''<br /> <br /> ==Yang Hui 阳慧==<br /> The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. <br /> <br /> Example: “presidential historian...”<br /> <br /> “总统的史学家......”<br /> <br /> It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> '''1.2.2 Conveying the spirit and style of the original work'''<br /> <br /> From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.<br /> <br /> Example:“来吧，朋友!”<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.<br /> <br /> '''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''<br /> <br /> 这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。<br /> <br /> “1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)<br /> <br /> 这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。<br /> 1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.<br /> <br /> Example：“车来了！”<br /> <br /> “Here comes the car / truck / bus / minibus / lorry / taxi!”<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.<br /> <br /> 汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)<br /> <br /> <br /> 汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> '''1.2.4 Similar reader responses'''<br /> <br /> The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.<br /> Example: “as white as snow.”<br /> <br /> ==Yi Huan 易欢==<br /> <br /> It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.<br /> <br /> '''Ⅱ. A brief introduction of Skopos theory'''<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.<br /> <br /> '''2.1 The development of Skopos theory'''<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.<br /> 20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)<br /> <br /> 在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> <br /> So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:<br /> <br /> The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory. <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.<br /> 一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.<br /> <br /> 第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.<br /> <br /> 第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)<br /> <br /> 第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.<br /> <br /> 译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。<br /> <br /> The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &quot;function plus loyalty&quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.<br /> <br /> 第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> '''2.2 The definition of skopos'''<br /> <br /> Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).<br /> <br /> 2.2 目的论的定义<br /> <br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)<br /> <br /> 2.2 目的论的定义<br /> 目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> <br /> '''2.3 Three basic rules of skopos theory'''<br /> <br /> In this part, a detailed analysis of these rules will be presented with examples.<br /> <br /> '''2.3.1 The skopos rule'''<br /> <br /> In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过例子来呈现对于这些规则的具体分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)<br /> <br /> 2.3 目的论的三条基本规则<br /> 这部分将通过示例对这些规则进行详细分析。<br /> <br /> 2.3.1 翻译目的规则<br /> 在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> ''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20) <br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.<br /> <br /> Example: I wear nothing but a few drops of Channel No.5<br /> <br /> 无限芬芳的超脱，点滴即可创造。<br /> <br /> 因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.<br /> <br /> 如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> '''2.3.2 The coherence rule'''<br /> <br /> Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.<br /> 通顺原则<br /> 通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)<br /> 2.3.2 连贯性原则<br /> 连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.<br /> <br /> Example: Enchanting medieval house with five acres of delightful gardens.<br /> <br /> 这里是迷人的中世纪住宅，外有五英亩的美丽花园。<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.<br /> <br /> '''2.3.3 The fidelity rule'''<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.<br /> <br /> Example: Free entry into farm, Dogs on lead. <br /> <br /> OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm<br /> <br /> 农场免费进入，宠物狗请带好狗绳。<br /> <br /> 开放时间：3月1日--11月30日 上午10点--下午五点<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.<br /> <br /> There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.<br /> <br /> '''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.<br /> <br /> '''3.1 The differences'''<br /> <br /> '''3.1.1 Different theoretical basis'''<br /> <br /> The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.<br /> <br /> 本章将主要讨论功能对等理论和目的论的异同。<br /> <br /> 3.1 差异<br /> <br /> 3.1.1 理论基础的差异<br /> <br /> 美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)<br /> <br /> <br /> 本章将主要讨论功能对等理论与目的论之间的异同。<br /> <br /> 3.1差异<br /> <br /> 3.1.1不同的理论基础<br /> <br /> 早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human. <br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> As the name suggests, Skopos theory regards translation activities as a kind of &quot;action&quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.<br /> <br /> '''3.1.2 Different translation principles and standards'''<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &quot;Equivalence&quot; here, he clearly stated that it is not &quot;equivalence&quot; in mathematics, but &quot;approximation&quot;, that is, the approximation of functional equivalence from varying degrees.<br /> <br /> 奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)<br /> 奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &quot;close and natural equivalence&quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.<br /> <br /> 根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)<br /> <br /> 根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &quot;coherent within the text,&quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.<br /> 目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)<br /> <br /> 目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.<br /> <br /> But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. <br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Nord believes that &quot;there is no translation without the original text&quot;, and free rewriting does not belong to translation; &quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&quot; This responsibility of the translator is &quot;loyalty&quot;(Zhang Meifang, 2005:60-65). The principle of &quot;function plus loyalty&quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> '3.1.3 Different cultural directions'''<br /> <br /> Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &quot;mirror reflection&quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> 弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）<br /> '''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).<br /> <br /> '''3.2 The Similarities'''<br /> <br /> '''3.2.1 Both are a combination of translation and language function'''<br /> <br /> 译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似性<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)<br /> <br /> 译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。<br /> <br /> 3.2相似之处<br /> <br /> 3.2.1两者都是翻译和语言功能的结合<br /> --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &quot;skopos theory&quot; or &quot;functional equivalence theory&quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. <br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers<br /> <br /> Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&quot;<br /> <br /> 因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。<br /> <br /> 尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.<br /> <br /> '''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''<br /> <br /> Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world. <br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &quot;coherence within the text&quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.<br /> <br /> Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> '''Conclusion'''<br /> <br /> By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion. <br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.</div>

Wu Kai https://bou.de/u/index.php?title=20201019_trans&diff=101469 2020-10-23T12:33:23Z

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

Wu Kai https://bou.de/u/index.php?title=20201019_trans&diff=101468 2020-10-23T12:26:10Z

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

Wu Kai https://bou.de/u/index.php?title=20201012_trans&diff=100567 2020-10-16T14:31:29Z

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

Wu Kai https://bou.de/u/index.php?title=20201012_trans&diff=100565 2020-10-16T14:23:19Z

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

Wu Kai https://bou.de/u/index.php?title=20201005_trans&diff=99620 2020-10-10T06:01:59Z

<p>Wu Kai: /* Song Jianru 宋建茹 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> Modern Interpreting with Digital and Technical Aids<br /> <br /> Challenges for Interpreting in the 21st Century <br /> <br /> Martin Woesler, Hunan Normal University/China<br /> <br /> Abstract<br /> <br /> The world is growing in tandem with the Internet, freedom of travel and globalization. Inevitably translation and interpreting are in greater demand, especially online during the coronavirus pandemic. With the beginning of the 21st century, interpreting faces new technical and digital challenges requiring new methods of delivery. Technical developments in the course of digitization have been on the rise and are approaching real-time use simultaneous capability. The technology supporting the interpreter is becoming more and more effective, while an increasing number of systems, such as artificially intelligent programs, are competing with the human being. The interpreter must now be a technology organizer and adroitly adapt to technologically predefined interpreting situations, such as video conferences with augmented reality, tele-interpreting, etc.<br /> <br /> 数字与科技辅助的现代口译<br /> <br /> 21世纪口译面临的挑战<br /> <br /> 马丁·沃斯勒（Wu Moting），湖南师范大学 中国<br /> <br /> 世界的发展正与互联网、旅行自由化和全球化齐头并进，尤其是在新冠疫情期间，人们对线上笔译和口译的需求更大。在21世纪初，口译面临新科技的挑战，需要新的提供服务的技术手段。数字化进程下的技术发展一直在上升，并且逐渐实现实时同步的能力。口译员的使用的科技越发高效,随着科技系统数量不断增多，出现了大量与人类竞争的翻译系统，比如人工智能程序。因此，如今的口译员必须要知道如何使用科技，还要快速适应一些技术上预先设定的口译情况，比如增强现实的视频会议，电话口译等。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 09:30, 9 October 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> The movements of migrants within the EU and the influx of refugees from crisis areas outside of it render community interpreting especially of rare languages in unprecedented demand, often resulting in the unsavory use of non-professional and sub-standard interpreters. Existential problems for the entire profession become apparent. Due to networking via the Internet, unqualified interpreters pour onto the market from low-wage countries: with dumping prices and low-quality services, they discredit the profession of the professional interpreter. Meanwhile remuneration practices have been declining, with payment of interpreting services often being delayed or payment defaulted. All these lead to a devaluation of the profession of the interpreter while digital technology throws into doubt the need for the role of the human as interpreter or translator. <br /> <br /> ==Chen Han 陈涵==<br /> <br /> The positive side of technological advancement is that communication (including translation and interpretation) becomes digital and therefore can be enhanced with artificial intelligence. This enhancement takes interpreting and translation to a new quality level. Translation and interpretation theory needs to adapt to translation and interpretation in the age of artificial intelligence, the focus, which has moved with the functional approaches to the translator, now moves to the target text audience. The new way of interpreting is a human, but digital-technically determined hybrid form of human-machine interactive interpretation, with due respect for the human participation expressed in the form of professional remuneration.<br /> <br /> 技术进步带来的积极影响是交流（包含笔译与口译）日益数字化，于是交流可以通过人工智能得以加强。这种加强将口译与笔译水平提升到新高度。因此，相关理论需要适应人工智能时代下的笔译与口译。在过去，理论的重心从功能方法上转移到译者，而现在转移到目的语受众。新的口译方式是有人类参与的，不过是一种混合形式，即由数字技术支撑的人机交互口译，同时，以专业薪资待遇对人类译员表示尊重。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 05:00, 10 October 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> Keywords<br /> <br /> interpreting; artificial intelligence; simultaneous interpreting; real-time support; interpreting technology; digitalisation; interpreting software<br /> <br /> 1.Literature Review<br /> <br /> In 2006, Honegger notes in a survey that most prospective interpreters do not use software in the interpreting booth, but work with paper glossaries which they have created with MS Word or MS Excel. Fantinuoli (2011, 50) states five years later that most interpreters still manage their terminology traditionally with MS Word or MS Excel. In 2015 20- to 30-year-old interpreting students state in a survey by Gacek that &quot;software solutions are not sufficiently known among prospective interpreters and therefore are not used&quot; (Gacek 2015, 82). The purpose of the present study is therefore to draw attention to the functionality of software for interpreting booths.<br /> 关键词：口译，人工智能，同声传译，实时支护，口译技巧，数字化，口译软件。<br /> 1、文献综<br /> 在2006年，霍尼格在一份调查中写道，大多数杰出的口译家在口译室中都不会适应翻译软件，而是使用他们用文档或者表格创造出来的词汇进行工作。在2015年，一些二三十岁的口译学徒在一份调查中说：“软件翻译在那些杰出的口译者当中流传不广，所以他们不太使用。”因此目前研究的目的就是吸引翻译工作室注意到翻译软件的功效。--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 15:25, 9 October 2020 (UTC)Chen Hui<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The conference interpreter Anja Rütten (2007) presents valuable information in her information-rich overview, Information and Knowledge Management in Conference Interpreting, and in her numerous blogs in 2013 and 2014 about experiences with hardware and software in conference interpreting. In this paper, also lists of software and technology from Drechsel's interpreting practice in 2005, 2013 are used. <br /> <br /> Standard works on the craft of interpreting (Pöchhacker 2004; Stoll 2009) also form the basis of the present study. Only their suggestions are taken up here and they ought to be reconsidered from the perspective of support by software and technology. In addition, current individual studies are evaluated, such as on distance interpreting (Kalina 2010) and explanations on the use of office programs (Fantinuoli 2011), on web corpora (Gurevych 2013), and on Qtrans (Scholz 2008; Gacek 2015). To compare it with the analogue age, the very early Braun 1999 study on video conferencing is used.<br /> 会议口译员Anja Rutten（2007）在其信息丰富的概述《会议翻译中的信息与知识管理》中提供了十分珍贵的信息。同时，在她2013-2014年的博客中，也记录了非常多在会议口译中使用软硬件的经验。在这篇文章中，同样列举了Drechesel在2005和2013年的口译实践中使用过的软件和技术<br /> 标准作品的翻译工艺（Pochhacker）同样奠定了现代研究的基础。这里只采纳他们的建议， 即应该从软件和技术支持的角度重新考虑。此外， 本研究还评估了目前的个人研究，例如远距离口译（Kalina 2010），办公程序使用解释（Fantinuoli 2011）,网络语料库（Gurevych 2013）以及文档快翻。为了将它与相类似时代相比较，我们用到了1999年早期Braun的视频会议研究。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:24, 9 October 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> Since software and technology are developing rapidly, a study inevitably becomes obsolete quickly. To arrive, nevertheless, at more generally valid statements, the present study focuses on developments and functionality, explaining concrete software and hardware only by way of example, with the knowledge that products are often replaced by others and that only a few can last for a long period of time. In order to get an overview of software and hardware, the current master's thesis by Gacek (2015) is used. However, it only refers to a small selection of products and does not come to generally valid conclusions. This study also addresses the polarizing discussion on how much technology and software the interpreter needs. While Spitzer provocatively speaks of the &quot;digital dementia&quot; of interpreters in 2012, Conway (2014) has taken a more balanced approach to the question of the cost-benefit ratio of the computer in the interpreting booth.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> This paper will also introduce special aspects, like problems posed by trendy community interpreting (Andres 2009) and cheap competition for interpreters, as well as placing networked communication and work on texts in the context of the development of swarm intelligence and a collective consciousness.<br /> Finally, a new type of interpreting is called for, which expects at least technical competence from the interpreter, and at most a hybrid human-machine working method. In this paper, the thesis, already passionately advocated historically, that the computer or artificial intelligence could never replace the human being in certain functions such as language (Austermühl 2004), is no longer categorically excluded.<br /> 本文还会提及一些比较特别的方面，如社区口译流行带来的问题（安德烈斯 2009），口译员之间的廉价竞争以及在群体智能和集体意识发展背景下将网络通信和工作置于文本之上的问题。<br /> 最后，需要一种新型的口译方式，它要求口译员至少具备技术能力，至多采取一种人机混合工作模式。在本文中，认为电脑或人工智能永远也不能取代人（Austermühl 2004）的论点已不再被绝对排除在外了，而这一点在先前早就得到了强烈的倡导。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 02:43, 10 October 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> <br /> 2.Simultaneous Technology/Technology Working in Real Time<br /> <br /> While in the past technology did not allow simultaneous work support, i.e. it was not possible for translators to work with simultaneous or consecutive interpreting, this disadvantage seems to have been largely overcome technically at the beginning of the 21st century, although there are still too few apps that make use of these new possibilities.<br /> <br /> Arguments against the positive effects of advanced technology include references to over-coding, the abundance of information, etc. These phenomena appear to be a hindrance, especially in connection with the interpreting profession, which requires the highest level of concentration. <br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> Spitzer (2012) for example, poses the question of whether computer work causes a mental deterioration of society. Rütten (2014a), on the other hand, refers to Spitzer, pointing out the advantages of the computer, arguing that it has voice output, retrievability through full-text search, spell checking, sorting, categorization and transmission functions. She suggests as a compromise: &quot;Talking about research, challenging one's own memory and always asking about what is meant and the context - if we take this to heart, we have a good chance of making the computer a valuable training tool and an excellent assistant.”<br /> <br /> 比如说，斯皮策（Spitzer）提出了计算机会否在社会上引起精神恶化这个问题。另一方面，卢腾（Rütten ）提到斯皮策的言论时，反而指出计算机有着诸多优点。卢腾称，计算机可输出声音、可通过全文本搜索进行信息检索、可检查拼写正确与否、可进行信息整理、同时还具有分类和传输功能。她建议人们用一种折中的眼光来看待计算机。人们常谈论研究、挑战自身的记忆力、总询问事物的含义和语境。如果我们用心感受那些方面，我们还是有绝佳的机会让计算机成为益处多多的训练工具和优秀的人类助手。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 05:14, 9 October 2020 (UTC)<br /> <br /> 例如，斯皮策（Spitzer）提问：计算机工作是否会引起社会的智力退化？另一方面，卢腾（Rütten）谈及斯皮策时，指出计算机的优势,认为它具备语音输出，可通过全文搜索进行信息检索，拼写检查，排序整理，分类和传输功能。她折衷建议：“如果我们谈谈研究，挑战下自身记忆力，且经常问问看这什么意思，上下文是什么—把这些事放心上，我们还是很有可能让计算机成为一款有益的训练工具，成为优秀的人类助手。”--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:17, 10 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> 2.1 Technology to Support the Interpreter<br /> <br /> 2.1.1 Preparation<br /> <br /> Even if a consecutive interpreter is standing next to the speaker, armed with a stenographer's notepad and pencil, and interprets him or her in an apparently analogous manner, even he or she cannot do without technology these days. <br /> <br /> Even during the preparation stage, his duty of care requires him to take into account the accessible sources, some of which are electronic.<br /> <br /> Even more technical possibilities are offered if the interpreter asked to use his own initiative receives speech manuscripts beforehand. These can be scanned, transcribed and prepared, for example by automatic color coding of verbs and realities, which Stoll (2009, 84f.) also recommends for analogue preparation, as it improves anticipation and simplifies syntactic planning.<br /> ==Cheng Yusi 成于思==<br /> <br /> In addition to the concrete preparation of the text to be interpreted, more general preparation can also be supported technically.<br /> <br /> Drechsel (2005, 16f.) lists, for &quot;preparation for the conference topic and the creation of glossaries, electronic tools such as search engines, web catalogues, topic portals, scientific websites, company or customer websites, library catalogues, online libraries, specialised services for e-publications, online magazines, newsgroups and others are used.”<br /> <br /> Online comparison with existing acronyms/abbreviations (Stoll 2009, 85) is also helpful.<br /> <br /> <br /> 除了准备好口译稿以外，常规上还需要更多技术上的支持。<br /> <br /> 德雷克塞尔（Drechsel）（2005, 16f.）列举到，筹备会议主题，创建词汇表可以用到这些电子工具，如搜索引擎，网页目录，主题访问入口，科技网，商贸网，图书目录，线上图书馆，以及为电子出版物，在线杂志和新闻组等专门设置的服务。<br /> <br /> 此外，和现有的缩略词进行在线对比同样有帮助。（Stoll 2009,85）--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 01:44, 9 October 2020 (UTC)<br /> <br /> 除了对所要解读的文本进行具体的准备外，更多的一般性准备也可以在技术上得到支持。德雷克塞尔Drechsel(2005，16f.)列举到 ：“准备会议主题和建立词汇表时可使用的电子工具。如搜索引擎、网页目录、主题门户、科学网站、公司或客户网站、图书馆目录、在线图书馆、以及电子出版物的专业服务、在线杂志、新闻组等。&quot;除此之外，与现有的缩略语/缩写进行在线比较(Stoll 2009, 85)也很有帮助。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 02:38, 9 October 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> Of course, ad hoc knowledge acquisition (Gile 2009) prior to the conference also counts as preparation, such as requesting speech manuscripts and presentations, often in file form. Preparation does not only take place in the weeks before the assignment (&quot;advance preparation&quot;, Gile 2009), but also on site a few minutes before the assignments (&quot;last minute preparation&quot;, Gile 2009) and during the interpreting breaks (&quot;in-conference preparation&quot;, Gile 2009). Stoll categorizes the areas of interpreting preparation as &quot;general technical&quot;, &quot;terminological&quot; and &quot;interpreting strategy&quot; (Stoll 2009, 86).<br /> <br /> 当然，会议之前特别知识的获取（Gile 2009）也可以作为准备工作，例如要求演讲稿和演示文件,通常以文件的形式。口译员不仅需要在会议前几周做准备（“提前准备”，Gile 2009），而且在会议前几分钟（“最后一刻的准备”，Gile 2009）和口译休息期间（“会议中的准备”，Gile 2009）也需要做准备。 斯托尔(Stoll)将口译准备工作分为“通用技能”“专业知识”和“口译策略”三个方面（Stoll 2009，86）。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 16:22, 9 October 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> Here, search engines or electronic dictionaries are often faster than paper dictionaries. Moreover, if, for example, the conference program/list of speakers is updated on a website, the interpreter can adjust his or her planning by accessing the website without further consultation with the client.<br /> <br /> In principle, all technical aids should meet the requirements of being user-friendly, having a fast or real-time response time and being manageable.<br /> <br /> <br /> 在当前的情况下，通过搜索引擎或者电子词典查询信息往往比纸质词典要快。例如，如果会议安排又或是发言人名单在网站上更新了的话，口译人员可以通过访问网站来调整他或她的计划，而无需与客户进一步协商。<br /> <br /> 原则上，所有技术辅助工具都应满足客户的需求、迅速或实时给予客户回答且易于客户管理。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:41, 9 October 2020 (UTC)<br /> <br /> 在这种情况下，搜索引擎或电子词典通常比纸质词典更便捷。 此外，例如，如果网站更新了会议程序或者发言人列表，则口译员可以通过访问该网站来调整其计划，而无需与客户进一步协商。<br /> <br /> 原则上，所有技术辅助工具都应便于用户使用，能快速或实时响应以及易于管理。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 16:37, 9 October 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> 2.1.2 Speech to Text in Real-time with Low Error Rate<br /> <br /> Every smartphone today has a mode or apps with which it records speech and converts it into text in real time with a now justifiably low number of errors. <br /> This simple function alone is valuable for the apparently analogue consecutive interpreter: He can put his shorthand pad in a folder in which, for example, the smartphone is inserted on the left and has written down the spoken text as text. <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> While he works with his notes in interpreting notation on the right, as he used to do on the right, and can insert the pen into a holder on the folder if necessary, the transcription on the left enables him to find his way back into the context at a glance or, at most, with a wiping movement in the event of a pause in his hesitation (colloquially known as a 'hang up') or even a 'blackout'.<br /> <br /> Drechsel (2013) demonstrates the use of the following programs/websites on the Ipad (which helps him to concentrate on individual processes): Documents (manages documents and allows editing), Interplex, LookUp (terminology databases), Wikipedia, Google.<br /> ==Gao Mingzhu 高明珠==<br /> <br /> Tablets like the Ipad have the following advantages over the conventional laptop, notebook or netbook in the cubicle: They are lighter, smaller, handier, the battery lasts longer, typing is silent, you can use apps, your work is not interrupted by updates or pop-ups, you can take notes by hand and record things in the background for archiving or follow-up. Of course, due to the data protection regulation, the consent of the client must be obtained before recording.<br /> <br /> 平板电脑，如苹果平板电脑，相比传统笔记本电脑、室内台式电脑有着很多优势：更轻巧便携，电池耗电慢，无声键盘，可以使用各种软件，而且不会受到更新或者弹出窗口的困扰，可以用手记笔记，可以将信息记录在后台以存档或日后查看。当然，根据数据保护规定，进行信息记录前，平板会先征取使用者的同意。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 06:20, 9 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> The disadvantage of not being able to see several windows at the same time appears to be an advantage to Drechsel (2013) from his personal experience, because it allows him to concentrate better on one thing. However, he neither has all the Office applications with him nor his domestic terminology databases. A possible compromise could be a laptop with a touchscreen.<br /> <br /> 从德雷克塞尔（(Drechsel） (2013)的个人经历来看，不能同时看到几个窗口的缺点似乎是一个优势，因为这使他能够更好地专注于一件事。然而，他既没有所有的Office应用程序，也没有国内术语数据库。可能的折衷方案是用一台带有触摸屏的笔记本电脑。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:24, 8 October 2020 (UTC)<br /> <br /> 从德雷塞尔(Drechsel)(2013)的个人经历来看，不能同时看见几个窗口同时也是一个优点，因为这样可以使更好地专注于一件事儿。然而，他既没有办公软件地应用，也没有国内术语语料库。唯一一点好的就是他有一台触屏笔记本电脑。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:52, 8 October 2020 (UTC)<br /> <br /> 从德雷克赛尔的个人经历来看，他认为不能同时看到几个窗口这个缺点似乎是个优点，因为这让他可以更专注于一件事上。然而，他既没有所有Office办公软件，也没有国内术语数据库。一种折衷方法就是拥有一台触屏笔记本电脑。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:43, 9 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> 2.1.3 From Text in Source Language to Text in Target Language<br /> <br /> Not yet very professional but available as prototypes are transcription systems that offer a translation in a second screen (e.g. translator.google.com, fanyi.baidu.com, for European languages DeepL.com) in addition to the real-time transcription of the source language presented in 1.1.1. On the smart device, for example, an upright screen can be divided into an upper transcription area and a lower translation area. <br /> ==Guan Qinqing 管钦清==<br /> Here, too, constant trial and error is required to improve the quality of the interpretation. It is also individually different how much different information the individual interpreter is able or used to process. If the flow of data is too large, there is a risk that concentration or the flow of production will be impaired.<br /> <br /> 2.1.4 Keyword Cloud<br /> <br /> Helpful for the interpreter's work is the insertion of key terms and their translation into the target language in real time in the form of dynamic clouds, i.e. in real time and the longer a pause before the interpretation of the relevant term lasts.<br /> <br /> 这里也是如此——提高口译质量需要不断进行试错。同样，每位译员本身能够，或者是说适于处理不同信息的数量也有差别。如果数据流太过庞大，就会存在译者专注度降低或是译文产出量减少的风险。<br /> <br /> 2.1.4 关键词群<br /> <br /> 输入关键词或者通过动态云即时将源语转化为目的语，这对译者的工作大有帮助。比如：在对相关术语进行口译之前及时停顿或停顿更长时间。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:22, 9 October 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> In my opinion, the development of a corresponding app would be a desideratum. It would not be used intensively, but would be conceived as an additional screen for the corner of the eye, which is preferably perceived subconsciously and which one can turn to when one has a hesitation pause and is looking for stimulation. Here, terms that have been interpreted according to the proposal should turn green and others grey. It should be possible to turn back the displayed cloud by fractions of a second in the timeline by pointing and wiping. Of course, it should be capable of learning, i.e. it should be able to memorize frequent non-standard translations and offer them itself.<br /> <br /> In the post-processing phase, the program should offer a list of terms to be practised and has the non-standard translations approved manually by the interpreter.<br /> ==Guo Lu 郭露==<br /> 2.1.5 Effects of Technology<br /> <br /> The interpreting profession has changed due to hardware and software development, especially since the 1990s, which has essentially made interpreting easier and better. Whether a technology or an app makes it into the consecutive or simultaneous interpreting situation and even into the interpreting booth is subject to the highly subjective decision-making power of the individual interpreter, just like the interpreting notation, which varies from person to person. New techniques should only be tried out if they bring about a real improvement in use.<br /> <br /> 2.1.5 科技的影响<br /> <br /> 电脑软硬件的不断升级使得口译的专业程度也逐步提高，20世纪90年代以后，软硬件的发展让口译更加简便的同时，也提高了口译的准确性。一种技术或一款软件能否应用于交传、同传甚至是口译箱，极大程度上取决于译员本身，和口译符号一样，译员与译员之间各有不同。新的技术只有真正带来革新才能投入使用。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:49, 8 October 2020 (UTC)<br /> <br /> 2.1.5 科技的影响<br /> <br /> 20世纪90年代以来，由于电脑软硬件的升级，口译的专业性也不断提高，这在降低了口译难度的同时，也提高了其准确性。正如译员之间口译符号各不相同，一种科技或一款软件能否应用于交传、同传甚至是口译箱，极大程度上取决于译员本身。新科技应该加以试验，以检测其是否能带来革新。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 02:07, 8 October 2020 (UTC)<br /> <br /> 2.1.5 科技带来的影响<br /> 电脑软硬件设施的完善使口译员的职业发生了改变。特别是自20世纪90年代以来，译员的工作变得更加方便和成熟。正如不同译员间的口译笔记符号是有差别的一样，一项技术或软件能否被应用在交传或者同传的场合或者进入同传箱，取决于译员个人的主观决断。新的技术只有在实际使用中带来进步，它才有被尝试的价值。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:53, 8 October 2020 (UTC)Zhou Shiqing 周诗卿<br /> <br /> ==Han Haiyang 韩海洋==<br /> It is not in anyone's interest to use the latest technology for its own sake if this means a loss of quality in the interpretation. Conversely, an interpreter should be open to accept new techniques and software if they can improve his work.<br /> <br /> 2.1.5.1 The Presence of the Interpreter at the Place of Assignment<br /> <br /> The interpreter can influence physical and spatial matters by being present at the place of assignment:<br /> <br /> a) He/she can acquire vocabulary in advance in exchange with the client, compile vocabulary lists, practise them and also physically take them into the booth as paper printouts or on the screen.<br /> 并不是所有人都会喜欢用这些最新的科技产品，如果它们使得口译的质量产生了折扣。相反，一个口译人员应该以包容的心态来接受这些新技术，如果它们可以帮助提高工作质量的话。<br /> <br /> 2.1.5.1 在会议室的口译员<br /> <br /> 当口译人员在会议室的时候可以对周围的事物产生一定的影响：<br /> <br /> a) 他/她可以提前与客户交流得到所需词汇，然后整理成表，不断联系，最后切实的打印出来带入口译间或显示在其屏幕上。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:12, 9 October 2020 (UTC)<br /> <br /> 如若使用最新的科技产品导致口译的质量大打折扣，出于个人利益，不是所有口译员都会此感兴趣。相反，如若它们可以帮助提高口译工作质量，口译员都会以包容的心态来接受这些新技术产品。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:47, 9 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> b) He can request speech manuscripts in advance or speak directly to speakers on site and ask for a copy of their speech manuscripts.<br /> <br /> c) In case of early contact with the Interpreter Equipment Company, he may be able to influence positioning the interpreting booth so that he can see the speaker and the PowerPoint presentation. In the case of video conferences (e.g. by zoom, voom/Tencent Meeting, BigBlueButton, Skype, Tencent Classroom, MS Teams etc.), he can make sure that he can see all the speakers, including those who appear on screens, so that he can also recognize non-verbal signals and incorporate them into the interpretation. In principle, it is recommended that the interpreter is also shown on screens or in video conferences on a small side window in order to better understand the interpretation.<br /> <br /> b)他可以提前要取演讲稿或者直接跟在场的讲话者要一份他们演讲稿的复印版。<br /> <br /> c)如果译者早一些与翻译设备公司沟通交流的话，他也许能够选择口译室的位置，这样的话他就可以看见讲话人和幻灯片演示文件。如果是视屏会议（如zoom,腾讯会议,BigBlueButton,Skype,腾讯课堂，MSTeams等），他要确定他能够看见所有的讲话人，包括那些出现在屏幕上的，这样的话他就可以识别一些非语言信号，并且将其融入翻译中。原则上，为了让大家更好地理解翻译，译者也应该出现在镜头里面或者视频会议地小窗口里面。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:45, 8 October 2020 (UTC)<br /> <br /> b)他可以提前请求得到手稿或者直接和在场发言人交流并申请一份演讲手稿的复印件。<br /> <br /> c) 如果有提前和口译设备公司沟通过的话，他就可以确定口译间的位置，这样他就可以看到发言人人和播放的幻灯片。在视频会议中（比如zoom，腾讯会议，BigBlueButton,Skype,腾讯课堂，MS Teams 等等）他就可以确保他能看见所有的发言人，包括那些在屏幕上的，这样他就可以收集到非口语的信息，将其整合到口译当中。 原则上，口译人员也应当出现在屏幕上或者在视频会议的一个侧边窗口，这样他就能更好的进行翻译工作。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:50, 9 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> d) Before the event, the interpreter can be introduced to the interpreting equipment by the technician and test the audio system, determine and announce the channel-language assignment (experienced clients post these and instruct the staff who issues the receivers to inform the participants of the assignment), adjust the volume of the headphones and arrange the aids on the work table.<br /> ==Hu Baihui 胡百辉==<br /> e) He/she can coordinate with his/her interpreting colleague regarding, e.g. glossaries, agenda, and exchange documents, then both can determine the approximate intervals between changes or simply notice during the assignment if the colleague is at a loss and give a helping hand with writing a missing term on a piece of paper. He/she can also nudge him/her to draw his/her attention to something. He/she can share glossaries and documents electronically, e.g. with the Interplex program simply with a swipe to the left. He/she can also take over the interpretation prematurely in case of exhaustion of his/her colleague.<br /> ==Hu Huifang 胡慧芳==<br /> The number of distance interpreting assignments has already been increasing before the coronavirus pandemic, but with Corona, it exploded. Before Corona, a combination of telephone and web communication was used. With the coronavirus pandemic, Zoom was used more frequently and the Business version comes with a conference interpreter menu.<br /> <br /> AIIC, BDÜ, European institutions and other international organizations agreed (Kalina 2010) on the following conditions as minimal professional standards for distance interpreting:<br /> <br /> ==Hu Jin 胡瑾==<br /> - As a rule, a direct view of the room should be possible.<br /> <br /> - To avoid multilingualism, distance interpreting should only be used in exceptional cases when more than six active languages are spoken. But even then, as many booths as possible should be available in the room and the booths of the distance interpreters should not be too far away.<br /> <br /> - High-definition monitors should be installed in front of and not in the booths.<br /> <br /> - The remote interpreter should be able to communicate directly with the client and the cameramen.<br /> <br /> - Teams should regularly consist of a minimum of three remote interpreters&quot;.<br /> <br /> -通常，口译场所应该有良好视野。<br /> -为了避免使用多种语言，远距离口译只能在特殊情况下使用六种以上活动语言。但即使这样，房间里也应该有尽可能多的同传箱，远距离口译员的同传箱也不应该太远。<br /> -高清显示器应安装在同传箱前，而不是同传箱内。<br /> -远程翻译员应该能够直接与客户和摄像师通信。<br /> -翻译小组应定期由至少三名远程口译员组成”。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 01:42, 10 October 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 2.1.5.2 Higher Validity through Explanation and Correction Functions<br /> <br /> In the university lecture hall, students critically accompany, verify and check for errors in the statements of the lecturer by simultaneously reading in Wikipedia, Baike Baidu, etc., and in search engines such as Google, and Baidu and, if necessary, manually validate or question the statements in accompanying chats (e.g. in the WhatsApp or WeChat group of the course). In a technically mediated interpreting situation, it is now possible to show alternative translation suggestions to participants. This is useful in reducing misunderstanding when a) politically/religiously/culturally sensitive terms appear, b) different groups of recipients may have different understanding of the same term, for instance, a socialist-authoritarian country and a liberal-democracy] state perceive political ideologies, systems and concepts through a spectrum of shades and hues. Recognition of the various nuances, the multifaceted implications and the degree of value-laden presumptions for each individual recipient serve to ease tension and foster communication.<br /> ==Jiang Fengyi 蒋凤仪==<br /> 2.1.6 Special Features in the Booth<br /> <br /> Computers or smart devices allow you to view presentations, documents and notes. However, reference by typing during the interpreting process is hardly possible due to time constraint. Therefore, text to speech and speech to text modules become more important.<br /> <br /> In exceptional situations, such as a 'blackout' or a hesitation break, the technique of stalling, i.e. inserting neutral expressions without new information together with deceleration of the target text production, could be useful strategies (Pöchhacker 2004, 132ff).<br /> ==Jiang Hao 姜好==<br /> 2.1.7 Software Examples<br /> <br /> When naming selected software, I follow the list and evaluation of Janovska (2011).<br /> <br /> To this day, interpreters continue to manage their terminology with Office programs such as Word or Excel (Fantinuoli 2011, 50). However, searching is cumbersome with Ctrl+F, and only the first entry found is displayed. Better suited are Interplex simple, LookUp (search without Enter key, which also has a separate module for Word, Janovska (2011, 80); it also has input fields such as customer, topic and project for additional information, terminology extraction, vocabulary trainer, semantics filter and sorting functions, Honegger (2006, 2) and Rütten (2014f), Terminus (a) good multilingual terminology management system and TermDB developed by conference interpreter Christian Vogeler but discontinued in 2012. But here, too, Fantinuoli (2011, 51) complains that the hit rate cannot be reduced by stop words and that the errors in the glossary cannot be corrected.<br /> 2.1.7软件范例<br /> 在命名选定的软件时，我遵循Janovska（2011）的列表和评估。<br /> 时至今日，口译员仍在使用Word或Excel等办公程序管理他们的术语（Fantinuoli 2011，50）。但是，使用Ctrl+F进行搜索很麻烦，并且只显示找到的第一个条目。更适合的是Interplex Simple，Lookup （搜索时无需回车键，且也有单独的Word模块，Janovska（2011，80）；它还具有客户、主题和项目等输入字段，以获取更多信息，术语提取、词汇训练器、语义过滤器和排序功能，Honegger（2006，2）和Rütten（2014f），Terminus（一个）良好的多语言术语管理系统和由会议口译员Christian Vogeler开发的TermDB，但在2012年停产。但是在这里，Fantinuoli（2011，51）也抱怨说，使用停用词无法降低点击率，并且词汇表中的错误也无法得到纠正。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 02:17, 9 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Gacek (2015) presents numerous programs: Interpreters' Help (Gacek 2015, 55), a new browser-based web application from 2014 for all browser-based operating systems and for Boothmate for Mac OS X. It offers the possibility of synchronization offers with fast search function. The currently available beta version and the license for students are free of charge.<br /> <br /> Gacek (2015, 56) also introduces the Glossary Assistant program, which is still in development. It presents glossaries clearly on tablets, - the focus is not on mobile phones, - and makes them editable, see also Rütten (2014g) and Martin (2014). The program is currently only available for Android tablets and is free of charge. <br /> ==Kang Haoyu 康浩宇==<br /> <br /> The Intragloss program, which Gacek (2015, 57) presents, was &quot;developed by AIIC conference interpreter Dan Kenig and software developer Daniel Pohoryles&quot;. &quot;The aim of the program is to facilitate the creation and use of even extensive multilingual glossaries&quot;. &quot;Glossaries can be created directly within a preparation document or within a website.” Gacek values this as “very useful” and gives the example “making a list of problematic terms after receiving a last-minute document”. He also points to the fact that “Appropriate filter and sorting functions alphabetical, by website, by chronological order are also provided. A glossary created from a web page is automatically updated, which is an advantage for future. Like InterpretBank software, Intragloss also offers the possibility of automatic translation of terms, with the search for translation suggestions in large translation portals (IATE, GDT, Linguee, Termium, WordReference, etc.). Other useful functions include the clear comparison of different language versions of a document&quot;. A free trial version is available for Macintosh devices, see also Kenig (2014).<br /> Gacek（2015,57）提到的Intragloss程序是由“AIIC会议口译员Dan Kenig和软件开发者Daniel Pohoryles共同开发的”。“该程序旨在促进更广泛多语言术语表的创建与使用”。“术语表可在现有文件或网站上直接创建”。Gacek认为该功能非常有用，并举例指出“在接受最新文档后，该程序便可罗列出其中的问题术语”。他还指出，“该程序还支持适当的排序功能，可以按照字母，网站和时间顺序来进行排序。网页创建的术语表还能自动更新，这在未来是一大优势”。像InterpretBank软件一样，Intragloss也为自动翻译术语创造了可能，只要在大型翻译门户网站（例如IATE, GDT, Linguee, Termium, WordReference）搜索翻译建议即可。除此之外，另一有用的功能便是明确对比文件的不同语言版本。Macintosh设备提供了免费试用版，另请参见Kenig（2014）。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 9 October 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Gacek (2015, 61-63) tests and describes in detail the InterpretBank program in version 3 2014, which aims to &quot;provide interpreters with a sophisticated corpus-linguistic tool&quot;. &quot;InterpretBank was developed by Claudio Fantinuoli, a graduate interpreter working in the Department of Translation, Linguistics and Cultural Studies at the Johannes Gutenberg University of Mainz&quot; (Gacek 2015, 62). &quot;InterpretBank is a modular tool that provides interpreters with computer support in the field of knowledge and terminology management before, during and after a simultaneous interpreting assignment&quot; (Gacek 2015, 63). Gacek lists the three modes offered by the program: &quot;TermMode: Module for creating and managing glossaries; in addition, various functions can be used, such as automatic translation of terms and searching for definitions from the Internet. MemoryMode: Module for visual memorization of bilingual glossaries. ConferenceMode: Module for cabin-friendly reference during the interpretation.&quot; (Gacek 2015, 63). <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> Rütten (2014) judges: &quot;Very user-friendly, many nice functions; organised by glossaries (which, technically speaking, are subject areas tagged to each entry), has all the essential data categories (customer, project etc.) and a very nice flashcard-like memorising function. The quick-search function ignores accents. It is limited to five languages and you cannot add endless numbers of individual data fields.<br /> Intrepretbank is platform independent, works on Windows, Mac and Android (Gacek 2015, 63), costs 69 Euro, for students 39 Euro, university teachers (and their students) get a free demo license.<br /> <br /> The interpreters also use very simple websites and programs such as the search engine Google, the Internet encyclopaedia Wikipedia, dictionary programs such as Langenscheidt and systems for teamwork such as Google Docs. Typical concordance programs are WebSleuth, WebResearch, Black Widow, Site Ripper. <br /> ==Kong Yanan 孔亚楠==<br /> <br /> Terminology extraction enables Easy Concordance, and Concordance. Text to speech can handle most operating systems (Microsoft Windows, Macintosh Operating System), there are also special programs for it like Ivona Reader (from 49 €) with the free MiniReader version, TextAloud (19.99 €). There are programs for fast reading (so-called &quot;Improved Reading&quot;) like &quot;A Faster Reader&quot; (for Android smart devices) and programs for managing documents like the app &quot;Documents&quot; (for Apple iOS), in which among other things search functions can be used and a web browser can also be opened, or OneNote. The website www.wortwarte.de is supposed to present neologisms, but it is not up to date (visited September 11, 2020 by M.W.).<br /> <br /> 术语摘录使简单词汇索引以及词汇索引成为可能。大多数操作系统都具备文语转换功能（如微软视窗、Macintosh 操作系统），还有一些特殊软件也会用到文语转换，例如带有免费微型阅读器的Ivona 阅读器（49欧元起）以及TextAloud （19.99欧元起）。像“A Faster Reader”(安卓手机系统)这样的用于快速阅读（所谓的“拔高阅读”）的软件，以及文献管理软件，例如“Documents”(苹果手机系统)，都具备搜索、网页浏览或者电子笔记功能。www.wortwarte.de是一个提供新词的网站，但它并不是一个最新的网站版本。（M.W.于9月11日访问过这个网站）--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 01:16, 9 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> The program BootCaT creates topic-specific web corpora: &quot;The users first define the search terms. Then, web pages are collected, which contain the combination of these search terms&quot;, see Gurevych (2013, 546). At the end a text corpus is created, “with which one can quickly get an overview of the content and terminology, for example, of the keywords ‘energía solar’ in Spanish or ‘solar energy’ or ‘solar power’ in German”, see Rütten (2008).<br /> 程序BootCat 创建特定主题的网络语料库：“用户要首先定义搜索词，然后收集包含这些搜索词的组合的网页“，详见Gurevych(2013,546).最后创建了一个语料库，“通过该语料库可以快速检索内容和术语，例如，关键词西班牙中的‘energía solar’或德语中的‘solar power’，详见Rütten (2008)。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 02:56, 9 October 2020 (UTC)<br /> <br /> BootCaT程序创建了一个定题网络语料库：“用户首先明确搜索词，然后语料库会收集各种网页，其中包含所有这些搜索词”，参见Gurevych(2013,546)。最后，BootCat创建了一个文本语料库，“通过该语料库，人们可以迅速概览一些内容和术语，例如，可以搜索关键词，西班牙语中的‘energía solar’或德语中的‘solar energy’ or ‘solar power’”，见Rütten(2008)。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 10:00, 9 October 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> In addition, there are Termprofile, Endnotes, Qtrans-Search Bar. The latter is rated by Gacek (2015), 50 as &quot;no pop-up windows, faulty queries or other inconveniences&quot;. Also Scholz (2008) presents Qtrans: &quot;One of the great advantages of the tool, however, is its low threshold: the software can be used without training, is system-independent, requires no installation and is immediately ready for use.” Scholz also explains, that it is not based on its own search technology, but passes parameters to other services; “therefore it is easily adaptable and can integrate any internal and external data sources via HTTP” (Scholz 2008).<br /> 此外，还有Termprofile, Endnotes, Qtrans等搜索栏，后者在2015年被Gacek评为“没有弹窗困扰、错误查询和其他不便之处”。在2008年Scholz这样介绍Qtrans搜索栏：“不过，该工具最大的优点之一就是它的门槛低，这款软件无需培训就能使用，独立于电脑系统，不需要安装就能使用。”Scholz还解释说它不是基于自己的搜索技术,而是将参数传递给其他服务，“因此，它兼容性很强，并可以通过HTTP集成任何内部和外部数据源。”--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:49, 9 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> For preparation and simultaneous use, there is the glossary software Interplex, which is capable of handling multitasking. It can import glossaries from Word or Excel and is available for Windows, iPhone and iPad. In 2020, it costs US$ 75 and there is a free demo version available. More features for conference interpreters are offered by Term LookUp, which cost US$99 in 2019. In 2020 the author of this paper only found the free version and IntelliWebSearch (free).<br /> <br /> 在准备和同步使用用途上，有一个术语表软件-Interplex，它能同时处理多项任务。它还可以从Word 或Excle导入词汇，也适用于Windows，iPhone和iPad。2020年，它花费了75美元，获得了一个免费的试用版。Term LookUp（术语查找）为会议口译者们提供了更多的功能，在2019年这花费了99美元。2020年，网页负责人只发现了这个免费版和IntelliWebSearch（免费）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:07, 9 October 2020 (UTC)<br /> <br /> 在预备翻译和同声翻译方面，术语软件Interplex能处理多项任务，该软件能从Word或者Excel导入术语，并且在Windows,Iphone和Ipad上都能使用。2020年，用户花费75美元才能使用该软件免费的试用版。2019年，会议口译员花费99美元就能在TermUp软件使用更多的功能。2020年，本篇文章的作者只能找到这个软件的免费版本和IntelliWebSearch软件（免费）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 02:09, 9 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> 2.2 Simultaneous Interpretation with Video Conference Systems<br /> <br /> The current video conferencing systems all allow simultaneous interpretation. For this purpose, every participant simply needs two devices and joins two meetings at the same time. For more languages, more meetings are offered. Common solutions are BigBlueButton (open source, free), Zoom, Skype for Business, Microsoft Teams, WebEx, Zoom, GoToMeeting and in China voom (alias WeMeet, Tencent Meeting), TencentClassroom, WeChat.<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> Every participant should mute his/her microphone (except when speaking) and can listen to the original language on the first device and use one ear plug from the 2nd device to listen to the target language. If the original language does not need to be heard, the participant can also turn off the sound of the 1st device and plug in both ear plugs from the 2nd device or listen to the sound from the loudspeakers of the 2nd device. It is not recommended to have both devices on loudspeaker at the same time to avoid acoustic feedback. Sometimes, if the web speed is too slow, turning off the camera (not the loudspeaker) may help.<br /> 每位参与者应将其麦克风静音（讲话时除外），并可在第一台设备上收听原始语言，并使用第二台设备的一个耳塞收听目标语言。如果不需要听到原始语言，参与者也可以关闭第一个设备的声音，并插入第二个设备的两个耳塞，或者从第二个设备的扬声器中收听声音。不建议两个设备同时安装在扬声器上，以避免声音反馈。有时，如果网速太慢，关掉相机（不是扬声器）可能会有帮助。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 08:22, 8 October 2020 (UTC)<br /> <br /> 每位参与者应将其麦克风静音（讲话时除外），并可在第一台设备上收听原始语言，并使用第二台设备的一个耳塞收听目标语言。如果不需要听到原始语言，参与者也可以关闭第一个设备，并插入第二个设备的两个耳塞，或者从第二个设备的扬声器中收听声音。不建议在扬声器上同时安装两个设备，以避免回声。有时，如果网速太慢，关掉相机（不是扬声器）可能会有帮助。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:17, 9 October 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> With the business version of Zoom, you can simply choose the language channel by clicking on a flag. As the host of the meeting, one must activate the interpretation function and invite the respective interpreters.<br /> <br /> 在使用Zoom的商业版时，你只需点击代表各国的旗帜图标来选择语言频道。作为会议的主持人，你必须先激活口译功能，并邀请相应的译者进会议。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:21, 7 October 2020 (UTC)<br /> <br /> 使用Zoom商业版时，点击各国国旗图标就能选择不同的语言频道。作为会议的主持人，你先要打开口译功能，才能邀请对应的译者进入会议。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:52, 8 October 2020 (UTC)<br /> <br /> 对于商业版的Zoom，您只需单击一个标志即可选择语言频道。作为会议主持人，必须激活口译功能并邀请相应的口译译员。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 08:23, 8 October 2020 (UTC)<br /> <br /> 在使用Zoom商业版软件时，你只需点击旗帜图标就能选择语言频道。作为会议主持人，你必须具备解释功能，并邀请相应的口译员与会。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:07, 8 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> So far, conference interpreters often sat in the back of the conference in their boxes and where not visible to the audience. With video conferencing systems like Zoom it is now technically possible to blend in a video of the interpreter, which enhances understanding. However, so far the video conference communication situation still feels artificial, much different from the analogue situation, with only faces, voices and shared screens. <br /> <br /> ==Li Meng 李梦==<br /> <br /> The next generation of digital communication and interpretation is the Virtual Reality Room (e.g. using the hardware Oculus Quest VR glass and the software Spatial), in which participants can upload a photo to create realistic avatars and then ‘look around’ to see the speaker and the interpreter. The participants can even ‘walk up to’ the speaker to sit in the first row or they can ‘place’ speaker and interpreter next to each other. <br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> 2.3 Artificially Intelligent Programs as Competition for Interpreters<br /> <br /> The debate about the extent to which technology can replace humans is as old as the first fantasies of artificial humans. It is still a polarizing discussion today and is conducted in a highly emotional manner. <br /> <br /> Austermühl (2004) explains: &quot;We believe that even the latest technology and up-to-date machines cannot replace the human brain when it comes to language transfer. Many times, the concepts are too complex to reduce them to the level of machine-readable language.&quot;<br /> <br /> ==Li Yu 李玉==<br /> <br /> 2.3.1 Machine Translation vs. human translation<br /> <br /> For this section 2.3.1 I am indebted to the final exam paper of my student Jia Liwen 贺丽文 from my 2019/2020 Master course on Translation Studies at Hunan Normal University, Foreign Studies College. Although I come to slightly different conclusions, the paper sums up some discussions I had with the students in class and provides literature review and a field study worth quoting extensively here.<br /> <br /> ==Lin Min 林敏==<br /> <br /> Machine translation, commonly known as MT, can be defined as “the application of computers to the translation of texts from one natural language into another” (Huchins 1986, 1). The term “machine” is outdated, since we refer to computers today or to digital/eletronic instead of analogue translation, the term “machine translation” is mainly understood in contrast to human translation and therefore has potential to sustain.<br /> <br /> 机器翻译,通常称为机译（简称MT）,可以被定义为“运用计算机的应用软件将文本从一种语言翻译成另一种”(Huchins 1986, 1)。“机器”这个词已经过时了,如今我们用计算机或数字（电子）代替模拟翻译。而“机器翻译”一词主要是指与人工翻译的相对的翻译类别,因此具有持续的潜力。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:20, 9 October 2020 (UTC)<br /> <br /> 机器翻译，通常称为机译（简称MT），定义为“运用计算机的应用软件将文本从一种语言翻译成另一种”(Huchins 1986, 1)。“机器”这个词已经过时了，因为如今我们用的是计算机或数字（电子）这个说法。与模拟翻译不同的是，“机器翻译”一词主要是指与人工翻译相对的翻译类别，因此具有持续发展的潜力。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 03:13, 10 October 2020 (UTC)Liu Yiyu<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Machine translation pioneers were the United States, the Soviet Union and European countries. The initial stage can be dated 1947-1954: In 1946, the world’s first electronic computer was born. Soon, in the second year, 1947, an American scientist Warren Weaver and a British engineer A. D. Booth firstly proposed to translate languages by modern electronic computers. It was in 1954 that Georgetown University cooperated with International Machine Cooperation (IBM) on a project, which created the world’s first machine translation system breaking the restriction of word-to-word translation. It was recognized as a breakthrough of machine translation and demonstrated to the public and the scientific community the feasibility of machine translation for the first time. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> From 1954 to 1975, we may define a second stage, with climax and stagnation. Due to the success of Georgetown-IBM system and the potential social, economic and intelligence benefits, quite a few countries including the United State, Soviet Union, and Japan invested heavily in the research and development of machine translation. Then, there was an upsurge of machine translation research all over the world.<br /> 1954年到1975年，我们可以定义为第二个阶段，即高峰阶段和停滞阶段。由于乔治敦- ibm系统的成功及其潜在的社会、经济和情报效益，包括美国、苏联和日本在内的许多国家在机器翻译的研究和开发上投入了大量资金。于是，机器翻译研究在世界范围内掀起了一股热潮。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 10:09, 9 October 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> <br /> In 1956, the Chinese government released its “1956-1967 Prospective Plan of Science and Technology Development”, in which “automatic translation” was listed as an important task in item 41. <br /> <br /> The poor translation caused by the rough design of the first generation machine translation system and the exaggeration of the computer capability eventually led for some people to lose confidence in machine translation. In 1964, the US Automatic Language Processing Advisory Committee (ALPAC) established by the National Academy of Sciences (NAS) carried out an investigation on machine translation including its speed, quality, costs and the demand of it and had a sound and comprehensive test, count and analysis.<br /> <br /> 1956年，中国政府发布了《1956-1967年科技发展远景规划》，其中“自动翻译”被列为第41项的一个重要任务。<br /> 由于设计还较粗糙再加上计算机能力被夸大，第一代机器翻译系统的翻译质量不足，最终导致一些人对机器翻译失去信心。1964年，由美国国家科学院（NAS）成立的美国自动语言处理咨询委员会（ALPAC）对机器翻译的速度、质量、成本和需求进行了调查，并进行了全面的测试、统计和分析。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:27, 9 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Later, in 1966, ALPAC published the results of the survey and its main conclusion was that no further research should be undertaken on machine translation considering its low speed, low accuracy, higher costs than human translation and inability to overcome semantic barriers. Affected by this report, researches on machine translation declined sharply and even led to a 10-year slump worldwide.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> After a quiet decade of 1970s, thanks to the development of computer technology, linguistic theory and artificial intelligence research, the increasing demand for translation, and the unremitting efforts of some machine translation researchers, research on machine translation revived in the early 1980s, therefore we can define the recovery stage from 1975 to 1987. During this period, machine translation researchers no longer were blindly optimistic, instead, they paid more attention to the basic aspects of machine translation research, thus studies on machine translation systems and their development were more practical and rational, and eventually the second generation of machine translation systems emerged. <br /> <br /> ==Liu Ou 刘欧==<br /> <br /> In 1975, the European Atomic Energy Agency (EURATOM) began to install SYSTRAN. In 1976, the University of Montreal, Canada, and the Translation Bureau of the Federal Government of Canada jointly developed a practical machine translation system (TAUM-METEO), officially providing weather forecasts in May 1977. This was the only machine translation system that directly published translations without post-translation editing. It marked the practical application of machine translation in technical languages and the maturity of machine translation technology in technical languages. Many of the methods and technologies used by the second generation machine translation were relatively mature and some of them are still used these days. <br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> Since 1987 until now, we are in the prosperity stage. Many institutes and universities began their researchers in machine translation. Since 1989, the appearance of the third generation machine translation method based on corpus has changed the vision of the whole machine translation research, marking a new period for machine translation. Many famous machine translation systems were released at this period, such as the KY-1, being developed by the Chinese Academy of Military Sciences, MT-IR-EC, an English-Chinese title and catalog translation system, developed by the Research Institute of Post and Telecommunication Science, and Huajian Chinese-English machine translation system, developed by Huajian Co. Ltd. <br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Due to the rapid development of computer software and hardware technology, large-scale corpora which can be read by computer can be widely used in machine translation. The larger the corpus, the richer knowledge of human linguistics it contains, and the better the quality of machine translation will be. As long as the corpus was large enough, it was expected to cover all language phenomena. In this way, the key question here is, how to automatically or semi-automatically mine relevant translation knowledge from the corpus and effectively organize the knowledge base.<br /> <br /> 由于计算机软硬件技术的飞速发展，可以被计算机读取的大型语料库可以广泛应用于机器翻译中。 语料库越大，它包含的人类语言学知识就越丰富，机器翻译的质量也会越好。 只要语料库足够大，就可以涵盖所有语言现象。 这样的话，关键的问题就是如何自动或半自动地从语料库中挖掘相关的翻译知识并有效地组织知识库。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 8 October 2020 (UTC)<br /> <br /> 随着计算机软硬件技术的飞速发展，计算机可读取的大型语料库能广泛用于机器翻译。语料库越大，它包含的人类语言学知识就丰富，进而机翻的质量也就越好。所以只要语料库足够大，机翻就能包含所有的语言现象。这样一来，关键问题就成了如何自动或半自动化地从语料库中挖掘相关语料并有效组织。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:23, 9 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> The Translation Memory (TM) technology in Trados’ Translation Workbench and the latest near-human translation machine translation systems introduced by Google, Language Weaver, Meaningful Machines and other companies since the new century and the development of artifical intelligence are all the results of the successful application of corpus technology in machine translation research.<br /> <br /> 塔多思翻译平台拥有了翻译记忆技术，自二十一世纪以来，谷歌、语言编织公司、意义机器和其他企业引进了最新的类人翻译机器系统，人工智能也得到了发展，这些都要得益于语料库技术在机器翻译研究的成功应用。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:45, 10 October 2020 (UTC)Liu Yiyu<br /> 塔多思翻译平台拥有了翻译记忆技术，自二十一世纪以来，谷歌、语言编织公司、意义机器和其他企业引进了最新的类人翻译机器系统，人工智能的发展也得益于这些语料库技术在机器翻译研究的成功应用--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 03:55, 10 October 2020 (UTC)Mashuya<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> There are two recent Chinese books on MT, by Liu Miqing and Xu Jin. Both Liu Miqing and Xujun uphold the dogma that human translation cannot be replaced by machine translation, although they don’t reason their opinions. Liu Miqing comments on the so-called misunderstanding “If machine translation succeed, then translators will lose their jobs”: “This kind of worry is unnecessary, and human translation will be in demand at any time” (Liu 2010, 402). Xu Jun states: “On the basis of the existing linguistic level and the research level of computer artificial intelligence, it is impossible to develop a machine translation system that completely replaces human translation” (Xu et al. 2009, 339-340).<br /> <br /> 最近刘宓庆和许钧分别出版了一本关于翻译记忆的书。虽然没有确切的依据，但他们俩都支持翻译不会被机器翻译代替的观点。刘宓庆还评价“如果机翻成功，翻译工作者就会失业”这种荒唐的误解：“这种担忧是没有必要的，人工翻译在任何时候都是会有大量需求的”（刘2010，402）。许钧也说：“基于目前语言学和人工智能的研究水平，发明出一项完全替代人工翻译的机翻系统是不可能的”（许等2009，339-340）。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:54, 9 October 2020 (UTC)<br /> <br /> 最近刘宓庆和许钧分别出版了一本关于机器翻译的书。虽然没有确切的依据，但他们俩都支持翻译不会被机器翻译代替的观点。刘宓庆还评价“如果机翻成功，翻译工作者就会失业”这种荒唐的误解：“这种担忧是没有必要的，人工翻译在任何时候都是会有大量需求的”（刘2010，402）。许钧也说：“基于目前语言学和人工智能的研究水平，发明出一项完全替代人工翻译的机翻系统是不可能的”（许等2009，339-340）。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:35, 10 October 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Both of them use the same categorization of machine translation development stages as mentioned above. Both divide traditional machine translation methods into two categories: Rule-Based and Corpus-Based. The former builds the translation knowledge base on dictionaries and grammar rule bases, while the latter builds it by making full use of the corpus. Corpus-based methods can be subdivided into statistics-based machine translation and example-based machine translation.<br /> <br /> 他们都使用了上面提到的机器翻译开发阶段的相同分类方法。两者都将传统的机器翻译方法分为两类:基于规则的和基于语料库的。前者通过词典和语法规则库构建翻译知识库，而后者则通过充分利用语料库来构建翻译知识库。基于语料库的方法可以细分为基于统计的机器翻译和基于实例的机器翻译。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:24, 10 October 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> Since language has the characteristics of flexibility and openness, the development of a machine translation system based on grammar rules is greatly limited due to the lack of human thinking and the lack of the ability to identify the text or become aware of it. On the contrary, example-based machine translation has enjoyed unprecedented development since the 1980s. With the revival of statistical methods and corpus methods, corpus-based machine translation systems based on statistics and examples are beginning to be used for large-scale processing of language materials and real texts.<br /> <br /> 语言具有灵活性和开放性的特点，基于语法规则的机器翻译系统的开发由于缺乏人类思维以及缺乏识别或感知文本的能力而受到很大限制。相反，自20世纪80年代以来，基于实例的机器翻译得到前所未有的发展。随着统计法和语料库的复兴，基于语料库的机器翻译系统（基于统计和实例）开始用于大规模的语言材料和真实文本的处理。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 02:56, 10 October 2020 (UTC)<br /> <br /> 语言具有灵活性和开放性的特点，所以基于语法规则的机器翻译系统的开发由于缺乏人类思维以及缺乏识别或感知文本的能力而受到很大限制。相反，自20世纪80年代以来，基于实例的机器翻译得到前所未有的发展。随着统计法和语料库的兴起，基于语料库的机器翻译系统（基于统计和实例）开始应用于大规模的语言材料和真实文本的处理。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:31, 10 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> Both authors think that translation memories are very useful. Because unlike machine translation, the translation memory technology cannot translate the entire text, but can offer previously translated phrases from documents stored in its database. Through comparing, retrieving and reusing previously translated texts, translators can promptly determine how to accomplish the translation in a more efficient way. That is to say, the help of a translation memory makes translating more convenient and it makes it more effective for translators to deal with some complicated source texts through translation memory administration.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> 2.3.1.1 Advantages of Machine Translation<br /> <br /> 1. Among the advantages of MT are its speed and availability. If one visits a foreign country, a smart phone may make up for lack of language skills. Several free applications will help them translate texts, images, voices almost immediately, anytime and anywhere. One can take a picture of a sign and read it in one’s own language. Special apps help during conversations with foreigners. The accuracy is not high, but is also not needed in these basic conversations, which are low-end texts.<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> 2. Another major advantage of machine translation are the low costs, some services even come for free. For some large enterprises and professional translators, there is an initial financial investment to buy translation software like Trados, which pays off in the mid-run.<br /> <br /> 3. Another merit of MT is the sheer volume of translation. A small application can conduct large-scale translation work in a short amount of time, impossible for humans.<br /> <br /> 4. Also for human translators, MT is a helpful tool, professional translators and interpreters can save energy and improve their efficiency. In many disciplines, there is a huge amount of specialized vocabulary, which also changes fast. MT can make sure that all special terms are translated consistently in the same way. Most human translators prefer electronic dictionaries over paper dictionaries, e.g. because they have search functions and are updated online.<br /> 机翻的再一个主要优点是低成本，部分服务甚至是免费的。一些大型企业和专业议员会有能在中期获得回报的翻译软件的初始投资计划，比如塔多思。<br /> 机翻的另一个优点是大量高效。仅一个小小的软件便能在短时间内处理人类难以完成的大量翻译工作。<br /> 对于议员，机翻也是个有效的工具，专业笔译员与口译员都可以通过机翻降低体力消耗提高效率。很多学科领域都有着大量且变化迅速的专业词汇。机翻可以保证这些专业词汇翻译的一致性。多数议员相比于纸质字典都更喜欢使用电子字典，因为电子字典具有搜索与实时更新功能。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 03:52, 10 October 2020 (UTC)Mashuya<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> 5. MT tools also enable teams of human translators to increase their efficiency of cooperation, including joint databases and standards of translation.<br /> The trend towards MT is irreversible.<br /> <br /> 2.3.1.2 Disadvantages of Machine Translation<br /> <br /> 1. A MT can only be as good as its input, processes and self-learning algorithms. In the field of speech translation, MT depends heavily on speech recognition technology. In 2020, most speech recognition systems require speakers of the standard language (e.g. Mandarin instead of Cantonese). People’s accents, dialects and other influences like a noisy background affect the accuracy of speech recognition.<br /> <br /> 2. MT depends on connectivity and electricity. Many users become aware of this dependency when they use a translation application on their smart phone and suddenly the network connection is broken or the battery is empty.<br /> <br /> 5.机器翻译工具也可以提高人工翻译团队的合作效率，包括共享信息库 和翻译标准。机器翻译的潮流是不可阻挡的。<br /> <br /> 2.3.1.2机器翻译的弱点<br /> <br /> 1.机器翻译只能跟它的输入、程序和自我算法一致。在公开演讲翻译领域，机器翻译很大程度依赖演讲读取科技。在2020,绝大多数演讲读取系统要求演讲者是使用标准语（不用方言而是用标准语）。人们的口音、方言和其他影响因素（比如说一个嘈杂的背景环境）都将影响演讲内容读取的精度。<br /> <br /> 2.机器翻译取决于连接和电力。很多使用者在他用智能手机的翻译应用时，突然遭遇网络不好或者电池没电，才意识到这个的重要性。--[[User:Zhixing ma|Zhixing ma]] ([[User talk:Zhixing ma|talk]]) 02:37, 9 October 2020 (UTC)<br /> <br /> 1.机器翻译无法超越其输入、程序和自学习算法。在演讲翻译领域，机器翻译很大程度上以来语音识别技术。2020年，大多数语音识别系统需要演讲者使用标准用语（例如：使用普通话而非粤语）。人们的口音、方言及其他影响因素，如嘈杂的背景，会影响语音识别的准确性。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:06, 10 October 2020 (UTC)<br /> <br /> ==Meng Ying 孟莹==<br /> <br /> 3. The establishment of the corpus is the foundation of modern MT, but the corpus itself has its limitations. Modern MT, especially in many small languages, has a small corpus. For example, under the same circumstances, sometimes the accuracy of Lao translation is not as good as that of English. Also commercial reasons may play into this.<br /> <br /> 4. Almost all MT requires human post-editing. With the progress and development of science and technology, the accuracy of MT software is getting better but so far does not match human translation quality. The text after machine translation requires proofreaders to make final modifications to the translation to ensure that it is correct and has an appropriate style.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 5. MT still has deficits to understand in which context a word is used. In many languages, the same word may have several completely unrelated meanings, such as the word “spring” in English, which most commonly means “春天” in Chinese, but also means “弹簧” , “泉水” and “活力”. Another example is the word “门槛” in Chinese, which can refer to the “threshold on the door”, but the most common meaning is “the difficulty of a thing” or “the conditions for doing something”. In these cases, the context has a great influence on the meaning of words, and the understanding of the meaning depends largely on the clues one can get from the context. So far, the main advantage of human translators is the true understanding of a sentence, which is connected to relating words with their context. Another advantage is that a human translator can creatively polish the language to obtain not just a complete and accurate translation, but an appropriate one. This is undoubtedly still a big challenge for MT.<br /> <br /> 5.对不同的语境所该用的对应的词语的理解，机器翻译仍然存在着不足。在许多语言中，同一个词可能有几种完全不搭边的含义。比如说英语中的“spring”,在中文中最常见的意思为 “春天”，但是这个词也有“弹簧” , “泉水” 和“活力”的意思。另一个例子就是中文中的“门槛”，其可以指“门上的一道坎”，但最常用的含义是指“某件事的难度”或是“做某事的一种状态”。在这些例子当中，语境对词义有很大的影响，并且对词义的理解取决于上下文给出的线索。当前，人工翻译的主要优势在于可以将词语和语境联系在一起，从而理解句子的真正含义。人工翻译的另一个优势就是可以创造性地优化语言，从而不仅可以让翻译准确完整，而且翻译得十分恰当得体。无疑，这对机器翻译来说仍然是一项巨大的挑战。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:49, 9 October 2020 (UTC)Mo Ling<br /> <br /> 5.对同一词语在不同语境中的理解，机器翻译仍有其不足。在许多语言中，同一个词可能有几种完全不搭边的含义，比如说英语中的“spring”,在中文中最常见的意思为 “春天”，但是这个词也有“弹簧” , “泉水” 和“活力”的意思。另一个例子就是中文的“门槛”一词，但最常用的含义是指“某件事的难度”或是“做某事所需的条件”。在这些例子当中，语境对词义有很大的影响，一个人对词义的理解很大程度上取决于上下文给出的线索。当前，人工翻译的主要优势在于可以将词语和语境联系在一起，从而理解句子的真正含义。人工翻译的另一个优势就是可以创造性地优化语言，从而不仅可以让翻译准确完整，而且恰当得体。无疑，这对机器翻译来说仍然是一项巨大的挑战。--Ouyang Ling<br /> <br /> ==Mo Nan 莫南==<br /> <br /> 6. MT so far does not possess cultural sensitivity. Human translators constantly study the relevant cultures, expand their knowledge and are able to understand specific situations. Human interactions and emotions are complex and machines lack initiative and the ability to understand or recognize slang, jargon, puns and idioms, so that the resulting MT may not conform to the values and norms of the culture of the source language and/or of the target language.<br /> <br /> <br /> ==Nguyen, Thuy Hien (Helen) 阮翠贤==<br /> 2.3.1.3 Comparison of Machine Translation with Human Translation<br /> <br /> Machine Translation can be compared with human translation in different areas and under different aspects.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> 1. In the film and television industry, there is a large demand for translation of quotes (subtitling), and the difficulty lies in the individuality of each speaker which should correspond to a characteristic style depending on the speaker. The screen format requires short and pithy translations. What’s more, in the current movies and TV plays, there are a large number of terms fashionable in the internet. The film title itself has to take all possible connotations as well as marketing aspects into account, so a human translator will think it over and over again.<br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> 2. In the political and the diplomatic field as well as in international negotiations between countries or institutions: In these fields, human interpretation and translation is still widely used, since translation mistakes may have severe consequences for the relation of countries. When country leaders meet, the cultural accumulation of the translators can enable them to identify which content may not offend both sides and then pick the best translation.<br /> <br /> 在政治和外交领域以及国家或机关之间进行国际谈判中，人类的翻译解读仍被广泛使用，因为翻译错误会对国家之间的关系造成严重影响。国家领导人见面时，译者的文化积累能让他们确定哪些内容可能不会冒犯双方，然后选择最佳翻译。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:14, 8 October 2020 (UTC)Ou Rong<br /> <br /> 在政治外交领域及不同国家机构之间的国际谈判中，我们仍广泛使用人工口译和笔译，因为翻译错误可能会对外交关系造成严重后果。不同国家的领导人会面时，译者凭借其文化积累来甄别何种内容并不会冒犯双方，并以此选出最恰当的翻译。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:52, 8 October 2020 (UTC)<br /> <br /> 在政治外交领域以及国家或机构之间的国际谈判中,人工翻译仍然被广泛使用，因为翻译错误可能会对国家关系造成严重的后果。在国家领导人会面时，译者的文化积淀可以帮助他们辨别哪些内容不会冒犯双方，从而选择最好的翻译。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 12:11, 9 October 2020 (UTC)<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> When a country leader tells a joke which is not funny in the target culture, the human translator may improvise with telling a different joke, ensuring that the visitor will laught too and the whole atmosphere stays relaxed as intended. With MT, diplomatic accidents or cultural conflicts might happen. In the first half of 2018, AI simultaneous translation was applied for the first time at the Boao Asia Forum. However, the system broke down, resulting in low-level mistakes such as inaccurate vocabulary translation and repetition. Mistakes like these are avoided by professional (human) interpreters.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 3. Legal and technical communication. Legal translation, as well as medical, pharmaceutical, chemical etc. must be accurate, because a translation mistake may have severe consequences. The human translator spends additional time to make repeated efforts to avoid ambiguity and to improve the accuracy of the words used. Many specific terms in professional sectors have a broader or a different meaning in the standard language. For example, prejudice refers to damage, counterpart refers to a copy with the same effect, more complicated, for example, dominion refers to full ownership in civil law and sovereignty in public international law; Estoppels means that one cannot go back on the word in contract law, while in criminal procedure law, it means “forbidden to reverse confession”. Secondly, a large number of legal terms, such as “defendant”, “cause of action” and “damages”, usually do not appear in the common language. These characteristics of legal terms require people to carefully weigh and compare when translating, and give appropriate translations in specific situations.<br /> <br /> 3.法律及技术性表达。法律、医疗、药物和化学等领域的翻译必须准确无误，因为一个错误可能会带来严重的后果。人工翻译可以利用额外的时间，不断地努力，以避免歧义、提升用词准确性，专业领域中的许多特定术语在标准用语中具有更广泛或者不同的含义。例如，prejudice指损害，counterpart指具有相同作用的复制品，更复杂的例子还有dominion在民法中指完全所有权，在国际公法中指主权；Estoppels在合同法里意思是某一方不能违背承诺，但在刑事诉讼法中是“禁止翻供”的意思。其次，大量法律术语，例如“被告”、“诉讼事由”和“损害赔偿金”，通常不会出现在日常用语中。针对法律术语的此类特性，人们需要在翻译时仔细衡量和比较，以在特定情况下给出恰当的翻译。--Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> 4. Literary translation. MT in general cannot compete with human translation in the field of literature, since these kinds of translations are more complex. A typical characteristic of Western literature is to avoid repetitions. If, for example, the source is a Chinese work of literature, repetitions are more common. MT would translate these repetitions repetitively, while humans would be creative to find synonyms and variations. A good translation of literature should enable target readers to understand the world created by the source culture author and properly realize his beliefs, ideas or other things the author wants to convey through his work. Also, subtle references to other works of literature are harder to grasp by MT than by a human translator. There are often a lot of images (comparisons, illustrative expressions, motifs, metaphors, allegories) in literary works, and images have vague characteristics. When translating and dealing with these images, even experienced translators carefully consider and repeatedly weigh them. Literary works express the rich emotions of humans, it may be happy or sad, and half sad and half happy. In order to understand the subtlety of this, the translator needs to read the text carefully and weighs it over and over again. Only after careful reading and repeated deliberation the translator can really understand them and thus produce a good translation. Literary works are often historic. <br /> <br /> ==Peng Juan 彭娟==<br /> <br /> In different periods, literary works created by different writers have their own imprint of their times. When people look at past literature, they cannot only translate it from the contemporary viewpoint. Therefore, when reading the original text, the translator should figure out the author’s writing intention and the emotion to be conveyed according to the background of the times, the writer’s experience, the writer’s style, etc. in order to better understand the original text and in order to better carry out the translation. Obviously, MT systems are not yet able to deal with these complicated processes. Last but not least, literary works are often fictional, and the fictional world is often beyond the imagination of the real world. Even if the machine can input all the literary works and their corresponding translations in different languages into it to build a huge corpus, literary works stay always full of infinite creativity and imagination. The current MT systems may be able to give a proper translation of some sentences of literary works, but from the perspective of development, the premise of machine translation is to establish a corpus first, thus it is always lagging behind and can never keep up with the pace of literary creation and innovation.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 2.3.1.3 Field Study<br /> <br /> In November 2019, we conducted a simple field study. We selected an original text (https://b23.tv/av9604542) among the quotes of the American movie The Pursuit of Happiness 《当幸福来敲门》: “People can’t do something themselves, they wanna tell you you can’t do it. If you want something, go get it. Period.”<br /> <br /> Here are five MT versions from Sogou, Baidu, Netease Youdao, DeepL and Google respectively:<br /> <br /> Sogou translation (http://bit.ly/trans_ex_1): 人们自己做不到，他们想告诉你你做不到。如果你想要什么，去拿吧。句号。<br /> <br /> Baidu translation (http://bit.ly/trans_ex_2): 人们自己做不到，他们想告诉你你做不到。如果你想要什么，就去拿。周期。<br /> <br /> Youdao translation (http://bit.ly/trans_ex_3): 当人们做不到一些事情的时候，他们就会对你说你也同样不能。如果你想要什么，就去争取。时期。<br /> <br /> Google translation (http://bit.ly/trans_ex_4): 人们自己无法做某事，他们想告诉您您做不到。 如果您想要一些东西，那就去买。 期。<br /> <br /> DeepL translation (http://bit.ly/trans_ex_5): 人们自己做不到的事情，他们就会告诉你，你做不到。如果你想要的东西，去得到它。句号。<br /> <br /> The human translation (https://b23.tv/av9604542) is:<br /> <br /> 有些事人们自己办不到，他们就刚跟你说你也办不到。如果你想获得什么，就去争取。就这么简单。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> The original text is relatively colloquial, so the overall difficulty for translation is not so high, but still the five versions of machine translation are not ideal, only the versions translated by Netease Youdao and DeepL are acceptable, but also unsatisfactory in comparison to the human translation.<br /> <br /> 原文本是相对口语化的，因此翻译的总体难度不是很大。但是机器翻译的五个版本仍然不甚理想，只有网易有道和DeepL翻译的版本尚可接受。然而较之于人工翻译，它们还是无法令人满意。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 14:46, 8 October 2020 (UTC)<br /> <br /> 原文是比较口语化的，因此翻译的总体难度不是很高，但是机器翻译的五个版本仍然不太理想，只有网易有道和DeepL翻译的版本是可以接受的。但是与人工翻译相比，还是不太能令人满意的。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:18, 8 October 2020 (UTC)<br /> <br /> 原文本来偏口语化，因此翻译难度总体不大。尽管如此，机器翻译的五个版本仍然不太理想，只有网易有道和DeepL的翻译差强人意，但却仍无法和人工翻译相提并论。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:43, 9 October 2020 (UTC)<br /> <br /> 原文相对口语化，所以整体翻译难度没有那么高，但机器翻译的五个版本仍然不理想，只有网易有道和DeepL翻译的版本可以接受，但与人工翻译相比也仍不尽如人意。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:45, 9 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> In the first sentence of Sogou and Baidu translation, the word “something” is ignored and the overall coherence of the translation is not high. It is also not consistent with Chinese habits. In the first sentence of the Netease Youdao translation, “当……的时候” is added, which is feasible, but compared with human translation, it is not concise enough. The DeepL translation starts strong, but does not persuade with the arbitrary addition of “的”, which destroys the grammar. The Google translation “无法做某事” reads awkward in Chinese, the reader rather would expect something like “办不到的事情”, also the auxiliary verb “想” is not appropriate.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> For the translation of the second sentence, the handling of “go and get it” in Sogou and Baidu, obviously does not conform to the context in the movie, while DeepL at least uses “得到”. Although in Chinese, “take it” has the meaning of “拿” or “去拿”, in this movie, in combination with the context at that time, “take it” should be translated as “追逐”.<br /> <br /> 在翻译第二句时，搜狗和百度对 &quot;go and get it&quot; 的翻译显然没有遵照电影的情境；而DeepL起码翻译成了 “得到”。虽然在汉语中 &quot;take it&quot; 有“拿”或“去拿”的意思，但在这部电影中，结合当时的情境来看，&quot;take it&quot; 应该翻译成“追逐”。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:37, 8 October 2020 (UTC)<br /> <br /> <br /> 在翻译第二个句子时，搜狗和百度对 &quot;go and get it&quot;的翻译显然没有考虑电影中的背景，而DeepL起码将其翻译成了 “得到”。尽管在汉语中， &quot;take it&quot; 含有“拿”或“去拿”之意，但若结合这部电影当时的背景，应该将 &quot;take it&quot; 译为“追逐”。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 15:09, 8 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> In addition, it is worthwhile to point out that the translation of “take it” in Netease Youdao is the same as the human translation. However its translation of “wanna something” as “想要什么” is not as good as the human translation of “获得什么”. Google’s translation of “get” as “买” seems to point to a corpus with commercial texts. <br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> With using the polite addressing “您” and the non-understandable ending with “期。”, in comparison to its competitors, Google has failed this test by far. Finally, for the last sentence, the word “period” is directly and roughly translated into “期”, “周期” and “时期” by three machine translation systems. <br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> Although the word “period” by DeepL and Sogou comes very close to the meaning, the human translation makes it better understandable with “就这么简单”. Here, the machine translations fail to take the context into consideration. <br /> <br /> ==Seydou, Sagara==<br /> <br /> None of the above mentioned MT-produced versions can provide an expressive and smooth translation, let alone equal or surpass the human work. The MT versions do not conform to the Chinese speaking habits. There is still a long way to go for MT, especially for Sogou, Baidu and Google, to improve their translation quality.<br /> 上面提到的MT制作版本都无法提供表达流畅的翻译，更不用说等于或超过人工。 MT版本不符合华语习惯。 MT，特别是搜狗，百度和Google，要提高翻译质量，还有很长的路要走。--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:25, 10 October 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> However, when MT will succeed, is not a question of faith, it is simply a cost-benefit question that will be economically decided. Nowadays, the cameras of smartphones can be used to watch an object or a text, which is then subtitled in a given target language by augmented reality (e.g. iTranslate, Translate, Speak &amp; Translate, DeepL, Google Translator etc. for Iphone). <br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> The WeChat app, for example, also imitates the layout and font, making it increasingly difficult to visually determine that it is a translation and not the original. Even the mundane automatic translation work (machine translation), which used to be reserved for expensive specialist programs, is now accessible to a wide range of users via websites such as translate.google.com, deepl.com or fanyi.baidu.com and can also be activated in browsers so that the websites are displayed in the desired language.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Translations are generally worse than those produced by trained human translators. Nevertheless, some website operators are satisfied with the quality, so they have their websites automatically translated and thus attract more users. There are also hybrid solutions such as automatically translated websites with the possibility that trained and untrained users can suggest translation corrections, which can then be implemented partially automatically with quality assurance elements (translation evaluation, frequency of correction suggestions, etc.).<br /> <br /> 这种翻译的质量总体来说比那些来自专业人工译者的翻译要差。尽管如此，一些网页的运营者还是对这种质量颇为满意，他们于是对网页进行自动翻译以吸引更多用户。他们也想到了多种解决方案，比如：自动翻译的网页允许专业和非专业用户提出翻译改正建议，这能够让翻译自动进行，且还有一定准确性保障。（翻译评估，一定频率的翻译校准建议之类）--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:14, 8 October 2020 (UTC)<br /> <br /> 这种翻译的质量总体上比训练有素的译者所作的译文质量要查。然而，一些网页运营者对这种翻译质量很满意，于是他们用自动翻译来翻译网站，从而吸引更多的用户。还有一些混合的解决方法，比如：自动翻译的网站，训练过和没有训练过的译者都可以为修改翻译提出建议，这种做法既能够使部分翻译自动进行，也具有一定准确性保障。（翻译评估，更正建议的频率等）--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:38, 8 October 2020 (UTC)<br /> <br /> 总体上来说，这种翻译的质量比训练有素的译者所作的译文质量要差。然而，某些网页运营者对这种翻译质量颇为满意，便用自动翻译来翻译各自的网页，从而来吸引更多的用户。还有一些混合式解决方法，比如：自动翻译的网站，经过训练和未经训练过的译者都可以为翻译修改提出建议，这种做法既能够使部分翻译自动进行，也能保障一定准确度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 02:49, 9 October 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> For clients who expect higher quality, machine pre-translation and subsequent error correction currently occasionally appears to be more cost-effective than fully human translation. Overall, Google Translator has made great progress in recent years. Fanyi Baidu recently showed off with a simultaneous interpretation of a speech recorded live on video.<br /> <br /> 对于期待更高翻译质量的客户来说，目前机器预翻译和后续的改错有时候比纯人工翻译更经济实惠。总的来看，近些年谷歌翻译取得了很多进步。百度翻译近来也在卖弄其现场录制的演讲视频的同声传译能力。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:45, 9 October 2020 (UTC)<br /> <br /> 对于期待更高翻译质量的客户来说，目前机器预翻译和后续的改错有时候比纯人工翻译更经济实惠。总的来看，近些年谷歌翻译取得了很多进步。百度翻译近来也在卖弄了一段其针对视频直播的演讲的同声传译能力。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 06:01, 10 October 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Human translators also do not just use their brains, they use translation memories such as Trados, Across, Transit, MemoQ, WordFast, Pasolo etc., in order to have the same terms or sentences displayed in the same way, for example in technical manuals, which deal with the 1:1 translation of technical terms. Here both sides seem to come closer to each other.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Currently, no program can translate better than humans. There are simply too many factors to be taken into account in order to avoid e.g. unexpected comedy because a certain expression does not seem appropriate in a certain situation. Of course, the human translator is not immune to such 'translation mistakes', but he or she often recognizes them and can correct them afterwards if necessary. Here, the human consciousness cannot yet be achieved or simulated by machines.<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Automatic simultaneous interpreting appears even more difficult than automatic translation, as the transmission process is carried out in real time. In addition, the machines still lack the various means of expression accompanying the pure translation text. This does not only refer to non-verbal interpreting - there are also conference interpreters who often only listen to the translation via headphones. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> But also the possible variations in vocal reproduction, such as volume, speed, variation in intonation, intonation of the sentence melody, etc., often offers the possibility to enrich the information of the pure text. Nonetheless, these are precisely the fields that are currently being researched and that increase the acceptance and subtlety in the expression of artificial intelligence.<br /> <br /> 但是，音量，速度，语调变化，句子旋律的语调等声音再现的可能变化，也常常提供丰富纯文本信息的可能性。尽管如此，这些恰恰是当前正在研究的领域，提高了人工智能表达的接受度，增加了微妙性。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:27, 8 October 2020 (UTC)<br /> 而声音再现中可能出现的变化，如音量、语速、语调、句子旋律的抑扬顿挫的变化等，往往提供了丰富纯文本信息的可能性。尽管如此，这些恰恰是目前正在研究的领域，用来提高人工智能表达的接受度和微妙性。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 15:37, 8 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> The fact that the targeted concentration on translation errors and their causes promises success in further development is demonstrated by the leap in quality of translation services when comparing early and current Google and DeepL Translator versions.<br /> <br /> 通过比较早期及现在的谷歌翻译与Deepl翻译器的版本，人们发现翻译服务质量的巨大提高证明了有针对性地集中研究翻译错误及其原因能确保翻译发展的进一步成功。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 01:55, 9 October 2020 (UTC)<br /> <br /> 对比早期和现在的谷歌及DeepL翻译，我们可发现翻译质量大幅提升，这证明有针对性地关注翻译错误及原因有助于翻译的进一步发展。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 13:12, 9 October 2020 (UTC)<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> 2.4 Transition of Interpreting Situations through Technology/Digitization<br /> <br /> The interpreter must increasingly adapt to technically predefined interpreting situations, such as video conferences with augmented reality, tele-interpreting, etc. It is expected that the interpreter is familiar with the various hardware and software models of interpreting technology and organizes this technology.<br /> <br /> 2.4 技术化/数字化口译的转变<br /> 口译员必须逐渐适应技术上预定义的口译情况，例如增强现实的视频会议、远程口译等，并且应当熟悉并学会组织口译技术的各种硬件和软件模型。<br /> <br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:56, 8 October 2020 (UTC)Tang Ming<br /> <br /> 2.4 口译形势在技术化或数字化下的转变<br /> 译者必须要逐步适应在技术上预定义的翻译情况，比如增强现实的视频会议、远程口译等，也应该熟悉并学会组织口译技术的各种硬件和软件模型。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:48, 8 October 2020 (UTC)Ou Rong<br /> <br /> 2.4 技术化/数字化口译的转变<br /> 口译员必须在技术上对预定义的口译情况愈发适应，比如说，增强现实的视频会议、远程口译等，还需熟悉并学会组织口译技术的各种硬件和软件模型。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 15:11, 9 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> According to the early Braun 1999 study on interpreting in video conferences, the interpreter's job description is already changing towards becoming a technology organizer. Due to the rapid progress in technology, the technical problems, quality losses and malfunctions, on which the study focuses, are outdated. Rather, today's technology must be assumed to be largely trouble-free to perfect for the purpose of interpreting, often even offering functions that the users do not (or can not) exploit at all.<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> The following disadvantages of early video conferencing at the time of the study have since been reduced: <br /> <br /> a) Social presence - through the new techniques with VR glasses (like Facebook’s Oculus Quest) and, if necessary, whole-body tactile suits, the presence is sufficiently simulated so that the human mind is able to fade out the technical mediation of the presence after a period of getting used to it. The &quot;technically caused restrictions of interaction&quot; thus become negligible.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> The &quot;restricted field of vision&quot; of the interpreter complained about in the study can now be extended by virtual or augmented reality glasses. It should also be pointed out that even with conference interpreters, e.g. incorrect planning of interpreting booth locations where there is no clear field of vision for the speaker or PowerPoint or simply unforeseeable events such as overcrowded conference rooms so that standing listeners block the view are part of everyday life.<br /> 口译员对在口译室中“视野受限”表示埋怨态度，现在他们可通过虚拟现实或增强现实眼镜扩展视野。还应指出的是，即使是会议口译员，口译室摆放位置规划不准确也都是口译员日常生活的一部分,这会致使口译员看不清说话者、幻灯片或者难以预测的情况，比如说，会议室过于拥挤，使得站着的听众挡住了视线。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 15:05, 9 October 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> b) The same applies to the unnaturalness of the discussion situation that was noted at the time. Since the perception of technology fades into the background, the technically mediated interpreting situation is increasingly been accepted as just as natural or unnatural as the analogue/presence.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> 3. The Impact of Migration: Community Interpreting and Rare Languages <br /> Through migration, foreign-language people come into a community and are dependent on interpreting services in government offices and hospitals due to a lack of knowledge of the local language. While offices often leave the task of finding an interpreter to the foreign language speaker, they do not set any qualification or quality requirements. <br /> <br /> ==Wang Yuan 王源==<br /> <br /> As a result, relatives or acquaintances are often hired as one-time lay interpreters whom the foreign language speaker entrusts with the interpretation. However, the quality is often lower than that of trained interpreters. Trained interpreters would often be simply too expensive for the foreign language speaker in such situations (Moratto, 2020). <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the case of community interpreting in hospital, the patient is usually not responsible for providing an interpreter, e.g. because he or she arrived at the hospital unexpectedly or is restricted in mobility due to illness/injury or hospitalization and should not be burdened additionally. Accordingly, the hospital maintains a pool of community interpreters. As field studies, e.g. by Andres (2009), show, non-professional interpreters are also hired where necessary out of cost reasons.<br /> <br /> 关于医院的社区口译，病人一般不用自己提供口译人员，因为他们并不是有预测地来到医院，或者说由于病情、伤情或者住院导致行动能力受限，因此不应该再额外徒添负担。基于此，医院一般都有一群社区口译人员。基于安德烈斯的实地考察可看出，必要时也有为了降低成本雇用非专业口译人员的时候。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 13:31, 9 October 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> 4. Existential Problems for the Interpreting Profession<br /> Due to networking via the Internet, unqualified interpreters are pouring into the market from low-wage countries, bringing the profession of the professional interpreter into disrepute as a result of dumping prices and poor-quality work, especially for inexperienced clients. <br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> From my own field I know well-trained German and Chinese interpreters who interpret in their respective areas of competence for about 850 USD (750 Euros or 3,120 Yuan RMB) plus expenses for half a day or 1,700 USD (1,500 Euro or 11,700 Yuan RMB) for a whole day. But I have also taken part in conferences where an apparently not well-trained Chinese interpreter interpreted. <br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> As a rule, the clients were inexperienced and had apparently based their decision on price in particular, and hired interpreters for 450 USD (400 Euros or 3,120 Yuan RMB) half-day or 850 USD (750 Euros or 5,890 Yuan RMB) per day.<br /> 通常，客户由于经验不足，显然只能根据价格来聘用口译员，聘用的价格大概是半天450美元（相当于400欧元或3120元人民币），全天850美元（相当于750欧元或5890元人民币）。<br /> --[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:14, 9 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As a result, long passages were regularly left uninterpreted, there were pauses lasting seconds or entire speeches remained uninterpreted sometimes due to a lack of agreement between the interpreters, other times perhaps due to technical problems?.<br /> <br /> 结果，导致很长的一段话经常不予解释，有时会持续停顿几秒钟，或者整个演讲句子都无法翻译，有时是因为口译员之间没有形成共识，有时可能是由于技术方面的问题……--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 05:54, 10 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> I especially remember a consecutive interpreter who 'interpreted' the various welcoming speeches at a German-Chinese friendship celebration in sections by repeating the same sentence in Chinese: &quot;We are delighted to have such a good partnership which serves international understanding.”<br /> <br /> 我尤其清楚地记得一位口译员在中德友谊庆典上，将各种欢迎词都译为同一句话：“我们很高兴能发展一段有助于国际间理解的友好伙伴关系。”--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 03:39, 8 October 2020 (UTC)<br /> <br /> 我尤其清楚地记得一位交替传译口译员在中德友谊庆典上，将各种欢迎词都译为同一句话：“我们很高兴能发展一段有助于增进国际间理解的友好伙伴关系。”--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 8 October 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> For someone who was not familiar with the subject or did not speak both languages, the event made a perfect, all-round impression, the interpreting was apparently seamless, the audience clapped and laughed in the right places, solely because of the speaker's example and the interpreter's non-verbal signals. The German client was unable to judge the quality of the 'interpretation' due to a lack of language skills.<br /> <br /> 对于不熟悉该主题或不会讲两种语言的人，这次活动给人留下了完美且完备的印象，口译显然是无间断的，听众在正确的地方鼓掌大笑，这完全是因为演讲者所说的例子和口译员的非语言信号。 由于缺乏语言技能，德国客户无法判断“口译”的质量。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:09, 8 October 2020 (UTC)<br /> <br /> <br /> 对于不熟悉该主题或不会讲两种语言的人来说，这次活动给他们留下了完美且完备的印象，口译显然是无间断的，听众能适时鼓掌大笑，完全是因为演讲者所说的例子和口译员的非语言信号。 由于缺乏语言技能，德国客户无法判断“口译”的质量。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:08, 9 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> It is not known whether the approximately 150 Chinese participants at the event thought that the German speakers always said the same thing, or whether they realised that the interpreter only interpreted the atmosphere but not the specific content of the speeches. Perhaps the interpreter was also competent, but out of political or other consideration avoided any concretization of the idea of international understanding by giving examples? <br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> The listeners may also not have been aware that one of the speakers was the Lord Mayor, because his introduction and title of office by a moderator was also interpreted with: “We are delighted that we have such a good partnership that serves international understanding.”<br /> Experienced clients, on the other hand, are familiar with the quality assurance elements of the industry, such as membership in professional associations, recommendations, etc., and do not question the established fee rates.<br /> <br /> 听众们可能也没有注意到其中一位演讲者是市长，因为主持人也把他的自我介绍和头衔解释成:“我们很高兴能有如此良好的合作关系，这有助于国际间相互谅解。”另一方面，有经验的客户对行业的质量保证要素很熟悉，如专业协会的会员资格、推荐信等，并且不会对既定的收费标准提出质疑。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:29, 8 October 2020 (UTC)<br /> <br /> 听众可能还没注意到其中一位演讲者是市长，因为主持人在介绍他的时候，把他的头衔解释为：“我们很高兴能有如此良好的合作关系，这有助于国际之间的相互理解。”<br /> 另一方面，有经验的客户熟悉行业的质量保证要素，例如专业协会的会员资格、推荐信等，不会对既定的收费标准提出质疑。”--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:13, 9 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 4.1 Declining Payment Practice <br /> The 21st century witnesses the decline in payment morale, with interpreting services receiving delayed remuneration or subject to default in payment. While catering companies of the same event usually get their bills paid, interpreting services, especially for inexperienced clients, appear to be a service that cannot be concretely grasped, measured and seen. All this leads to a devaluation of the performance of the interpreter, his profession and even to a questioning of the role of an interpreter or translator in the modern age.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Should there really be a free artificially intelligent &quot;conference interpreting version&quot; of Google Translator one day, these clients will probably feel vindicated in their contempt for human interpretation.<br /> <br /> 5. Networking Takes Interpreting and Translation to a New Level of Quality<br /> In the case of machine-assisted translation, for example with terminology database systems such as Trados, there are several windows/screen areas and it can be displayed how you yourself have interpreted/translated a sentence or expression in the past or how other translators have done so.<br /> <br /> 如果有一天谷歌翻译真的出现了免费的人工智能“会议口译版”，那么那些客户就会理所当然的看不起人类的口译工作。<br /> <br /> 5.网络将口译和笔译提升到新的水平<br /> 在机器辅助翻译的情况下，例如使用Trados等的术语数据库系统，它会有好几个窗口/屏幕区域，显示你自己以前是如何翻译一个句子或一种表达的，或者其它翻译人员是如何做的。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:02, 9 October 2020 (UTC)Xiao Shuangling<br /> <br /> 如果哪天谷歌翻译真的出了免费的人工智能“会议口译版”，那么那些客户可能就会报复性的贬低人工口译了。<br /> <br /> 5.网络将口笔译的翻译质量提升到了一个新水平。<br /> 在机器辅助翻译的情况下，例如，在使用Trados等术语数据系统时，它会出现好几个窗口/屏幕区域，显示你自己以前是如何翻译某个句子或某种表达的，或其它翻译人员是如何翻译的。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:30, 10 October 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> The consistent further development of such workstations for interpreters would show in real time how colleagues interpret/translate or have interpreted/translated things. This is conceivable, for example, in the case of important speeches broadcasted live, which are interpreted simultaneously by different interpreters (and possibly AI) for different clients. Thus, as in the case of simultaneous chat commentaries to a live stream, the work of different interpreters on a speech could be observed simultaneously.<br /> <br /> 口译员工作站不断的发展，最终将能实时显示同事们是如何翻译或以前是如何翻译的。 这是可以想象的，例如，在重要演讲直播的情况下，由不同的口译员（可能是人工智能）为不同的客户同时进行口译。 因此，就像直播能实时聊天评论一样，可以同时看到不同口译员对演讲的翻译。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:12, 10 October 2020 (UTC)Xiao Ting<br /> <br /> 此类口译员工作站的持续不断发展将实时显示口译员们如何进行翻译工作或者之前是如何翻译的。 例如，我们可以想象到在现场直播的重要演讲中，不同的口译员（可能还包括人工智能）为不同的客户同时进行翻译。 因此，就像直播中能实时聊天评论一样， 也能看到不同口译员同时对演讲进行翻译。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 03:14, 10 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> If we take a closer look at this technical networking, parallels to an expanded, collective consciousness, which functions very much like the consciousness of an individual, come to mind. <br /> Artificial intelligence research focuses on the learning ability, self-perception and external perception of an individual in order to rebuild it with a machine. When a translator uses a Translation Memory (like Trados, DejaVu etc.), the artificial intelligence shows him/her how he/she him/herself has translated the same or a similar sentence earlier and, if the system is connected, how other translators have or are simultaneously translating the sentence.<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> The translator, who has several windows open (a dictionary, a speech-to-text module, a machine translation module, a translation memory etc.) may unconsciously use the hints by the artificial intelligence to produce his/her translation or interpretation.<br /> <br /> 翻译人员在打开多个窗口（词典、语音文本转换模块、机器翻译模块、翻译记忆库等）的情况下，可能会无意识地利用人工智能的提示来进行笔译或口译。<br /> <br /> When a huge mass of individuals (even with different languages) react with their thoughts, comments sometimes interpretations on the same sensual impression, artificial intelligence, using Big Data analysis and self-learning algorithms, becomes more than the sum of its parts, crosses the line of swarm intelligence and may be called a consciousness.<br /> <br /> 当大量的个体(甚至使用不同的语言)对他们自己的想法、评论或者解释（对于同一种感官印象）做出反应时，人工智能使用大数据分析和自学算法，变得不仅是其各个部分的总和，跨越了群体智能界限，可以被称为意识。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:55, 8 October 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> For example, someone is giving a speech, a global audience is watching and simultaneously commenting in their own languages. The AI can filter the most common reaction on the speech, can analyse cultural backgrounds or personality differences, can match similar comments in different languages. <br /> We have a stronger concordance of the stream of thoughts between individuals than in the purely passive reading of the texts of a foreign author between reader and foreign author.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> There are no brain cells linked between different individuals; rather the thinking during the translation work is visualized: I register how other individuals perform the same thought process and come to mostly different, but comparable, comprehensible results or even, in individual cases, to the same result. This process of constant comparison with the thinking of others is similar to the unconscious management process in the brain of the various subconscious thoughts, where the thought that is reinforced by the most similar thoughts makes it into consciousness.<br /> <br /> 不同个体之间没有大脑细胞相连。 而是将翻译工作中的想法可视化：我记录了其他人如何执行相同的思维过程，并得出了大部分不同但可比，可理解的结果，甚至在个别情况下也得出相同的结果。 这种与他人的思想不断进行比较的过程类似于各种潜意识思想的大脑中的无意识管理过程，在这种过程中，被最相似的思想所强化的思想变成了意识。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:45, 9 October 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> When interpreting and translating, we have clearly defined thought processes that are predetermined by the source text, thus creating a manageable and thus, to a certain extent, laboratory situation. If it is possible to reach a predominant consensus here, a transfer to the thought process management of several users of the same avatar with the same controlled environment and to livestream situations with the same uncontrolled environment would be conceivable.<br /> <br /> 在进行口译和笔译时，我们已经明确定义了由源文本预先确定的思维过程，从而创造了一种易于管理的情况，或者从某种程度上说，一种各因素严格受控的情况。如果各方可能达成主要共识，那么我们相信处于同一受控环境下有相同头像的用户的思维过程转化是可以实现的，同一非受控环境下直播情况的转化也是可以实现的。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:41, 10 October 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> The next step, therefore, would be to extend this technically supported interpreting and translating work to align the thinking of different individuals in the same situations and to allow common thoughts to form and be visualized as text, for example when enough users write the same thing that is &quot;I am us.&quot;. Individual mistakes could thus not assert themselves in the mass, so-called swarm intelligence. Of course, there are also the necessary learning processes with setbacks and nonsense.<br /> <br /> 因此，下一步将是扩展这一技术所支持的口译和笔译工作，以协调不同人在相同情况下的想法，并允许共同想法形成并可视化为文本，例如，足够多的用户写相同的内容 “我就是我们”。 因此，个人的错误无法在大众中断言自己，即所谓的集群智能。当然，也有伴随着一些挫折和废话的必要学习过程。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 02:42, 10 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> The striving for meaning and for intelligent meaning is a sufficient driving factor for the establishment of a collective consciousness. Who does not shudder when we typed &quot;How boring&quot; during a live broadcast of the speech of the US President? These words were typed simultaneously by 13 million users and thus are selected by the artificial intelligence to be visualized as a statement of collective consciousness.<br /> <br /> 追求意义，追求智能意义，足够驱使人们建立共识。在直播美国总统演讲时，我们在屏幕上打出“太无聊了”，谁不会感到害怕？130亿网民同时打上这句话，然后人工智能将其呈现在大众面前，体现出我们的共识。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 07:49, 9 October 2020 (UTC)<br /> <br /> 追求意义，追求智能的意义，这足够驱使人们建立共识。在直播美国总统演讲时，我们在屏幕上打出“真无聊”，谁不会感到害怕？如果一千三百万网民同时打出这句话，然后人工智能将其呈现出来，这也体现出一种共识。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:28, 9 October 2020 (UTC)<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> On a much smaller scale shown below is the reaction “How exciting” stated by only 321 users, who therefore were unable to assert themselves. In this way, in a clearly defined setting with clearly defined rules of thought management, one could create collective meaning, e.g. by telling the progress of an action together in a digitally animated feature film, or, in the military use of artificially intelligent robots in war, by using swarm intelligence to develop/change a combat strategy simultaneously during the mission.<br /> <br /> 如下所示，只有321名用户表示“太激动人心了”，相对来说在数量上要小得多。这些人也因此无法主张自己的观点。这样来说，在一个有着清晰思想管理规则的明确环境下，人们就可以创造出集体意义。例如：通过一部动画电影来讲述一系列情节进展，或是，在战争中使用军用人工智能机器人，通过使用群体智能在任务的执行中同时制定/改变战争策略。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:13, 8 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> 6. Further Developing Translation and Interpreting Theories in the Present and the Near Future<br /> The history of translation and interpreting studies is as old as translation and interpreting itself, although it was established as a discipline only in the 1960s and 1970s. Translation and interpreting studies changed its paradigms already several times. In ancient times, it was prescriptive, favoring literal or free translation (or combinations like as literal as necessary, as free as possible). It later became more descriptive.<br /> <br /> 6.近来及不久的将来翻译理论的进一步发展<br /> 尽管翻译学在20世纪六七十年代才确立为一门学科，但对翻译和口译研究的历史与它们本身一样悠久。翻译学的研究范式已经发生了数次改变。在古代，它是规定性的，倾向于直译或意译(或二者结合，尽可能意译，如必要则直译)。后来，翻译研究变得更具描述性。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:07, 8 October 2020 (UTC)Xu Pengfei<br /> <br /> 6.现在和不久将来口笔译理论的进一步发展<br /> 尽管翻译学在20世纪六七十年代才确立为一门学科，但对翻译和口译研究的历史与它们本身一样悠久。口笔译研究范式已经发生了数次改变。在古代，它是规定性的，倾向于直译或意译(或二者结合，尽可能意译，如必要则直译)。后来，翻译研究变得更具描述性。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:42, 8 October 2020 (UTC)<br /> <br /> 6.笔译理论和口译理论在当下及未来的发展<br /> 笔译研究和口译研究（翻译学研究）在20世纪六七十年代被确立为一门独立学科，但该学科发展历史之悠久，不亚于口笔译自身的发展。翻译学的研究范式已经发生了数次改变，古代采取的是规定性研究，倾向于直译或意译的翻译方法(或二者结合，尽可能意译，如必要则直译)，后来则更偏向于描写性研究。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:59, 8 October 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> Contrastive-linguistic approaches with equivalency as the main topic were followed by communicative and then functional approaches. Since the functional approaches also considered cultural backgrounds, it was called the “Cultural Turn”. With the Skopos Theory, the equivalence of the purpose of the source and target texts are stressed over the sacredness of the source, and the translator/interpreter gets back into the focus. Recent developments turned towards a sociology, a culture and the ethics of translation.<br /> <br /> 等效性，作为对比语言方式的主要内容，位于交流方式和功能方式之前。从功能方式考虑文化背景以来，其被称之为“文化转向”。在目的论的帮助下，源语言和目的语的目的平衡，相较于源语言的真实性，是更加重要的。之后，翻译家重新得到注意。最近相关的发展慢慢成为了一种社会科学，一种关于文化和到得的翻译。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 01:42, 10 October 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Algorithms have the characteristic that they do not have to understand any more, they just take a huge mass of data and come to results without knowing how. However, translation produced with these algorithms in general are of low quality. In a second step, the algorithms need to be able to learn from mistakes and adjust themselves. These translations are of better quality, but still qualitatively lower than human translations.<br /> <br /> 算法具有不再需要去理解的特征，它们只需要处理大量数据，而无需知道如何得出结果。 但是，用这些算法产生的翻译通常质量低下。 第二步，算法需要能够从错误中学习并自我调整。 这些翻译的质量较好，但仍低于人工翻译。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 9 October 2020 (UTC)<br /> <br /> 算法的特点是无需理解，它们只需处理大量的数据并得出结果，不必知其处理方法。然而，用算法得出的翻译版本基本质量比较差。第二步，算法需要能够从错误中获取经验并自我调整。这些翻译的质量有所提高，但仍然比不上人工翻译。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:17, 9 October 2020 (UTC)Mo Ling<br /> <br /> 算法具有无需深入理解的特点，仅仅只是处理大量数据，进而得出结果，却并不知其所以然。然而，借助算法产出的译文一般都是很差劲的。第二步，这些算法要能够吸取教训并自我调整。这样才能产出优质的译文，不过其质量还是比不上人工翻译。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 05:25, 9 October 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> So before the machine can take over, it needs to understand humans better and needs to be ‘made more human’. Therefore, the understanding we gained through the different translation theories and experiences, we need to put into a complex set of rules, to enable the artificial intelligence not just to come to better results, but also to ‘understand’ why and how.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> 口笔译的新形式大多由人工智能处理完成，人工智能将大数据分析和算法应用于人工口笔译中，为特定目标文本的接受者找到最适合和最容易理解的笔译/口译。<br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，翻译的重点从译者本身转向了“恰当性”(通过对文化背景和个人性格的分析来评定是否恰当)和综合性，而综合性又将重点进一步放在了读者身上。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 15:23, 8 October 2020 (UTC)<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> 新的口译和笔译形式主要由人工智能管理，人工智能将大数据分析和算法应用于人工笔译和口译，为特定的目标文本接收者寻找最合适和最易理解的笔译/口译。<br /> <br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，研究的焦点从译员本身转移到通过分析文化背景和个性分析所确定的适当性和综合性上来，后者又进一步地将焦点转移到听众身上。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:16, 8 October 2020 (UTC)Xiao Yining<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> <br /> 口笔译的新形式表现在其大多由人工智能完成，而人工智能将大数据分析和算法应用于人工口笔译中，为特定目标文本的接受者提供最适合和最容易理解的口笔译服务。 --[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:03, 10 October 2020 (UTC)<br /> <br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，翻译的重点从译者本身转向了“恰当性”(通过对文化背景和个人性格的分析来评定)和综合性，而综合性又将重点进一步放在了读者身上。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:03, 10 October 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> Since the translation or interpretation may look different depending on the individual recipient, the new translation and interpretation will be individualized and therefore the focus moves not just to the audience, but to the personality of the individual recipient and his/her social and cultural environment.<br /> <br /> 由于笔译或口译可能会因为接受者的不同而有所不同，因此新型笔译和口译将会注重个性化发展，其重点不仅仅针对于受众，而是针对于接受者的性格以及他/她的社会文化环境。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:42, 8 October 2020 (UTC)<br /> <br /> 由于笔译和口译可能会因为接受者的不同而有所不同，新型笔译和口译将会注重个性化发展，因此其焦点不仅仅转移到受众身上，也将关注每个接受者的性格以及他/她的社会文化环境。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:17, 8 October 2020 (UTC)Xu Pengfei<br /> <br /> 由于笔译或口译可能会因接受者个体的不同而有所不同，所以新的笔译和口译将会是个性化的，因而翻译的焦点不仅会转移到受众身上，也会转移到接受者的个性和他/她的社会文化环境上。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:21, 8 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 7. The New Type of Interpreting<br /> The new type of interpreting is a human-controlled, digital-technically supported hybrid form. The interpreter requires technical and digital skills and aids. Translation and interpreting can no longer take place without real-time technology, the minimum requirement is internet access. Quality-reducing factors currently include the use of lay interpreters in community situations, unqualified underpaid interpreters due to a lack of appreciation of the profession by inexperienced clients, and automatic translation programs, e.g., for various language versions of websites. However, a long-term trend toward qualitative improvement of automatic interpreting/translating through AI research can be observed, so that extrapolating past developments, even the complete replacement of the human interpreter by an AI in the future does not seem completely impossible any more.<br /> <br /> 新型口译是一种人工控制的，由数字技术支持的混合形式。口译员需要专业的数字技能的帮助。 没有实时技术，口笔译活动都无法进行，网络顺畅是最低要求。很多因素都导致翻译质量下降，其中包括，在一般交际场合请用非专业口译人员，经验不足的客户和自动翻译程序公司因缺乏专业认识低薪聘用不合格译者，例如有多种语言转换需求的网站。但是，通过人工智能研究来提高自动口笔译质量的长期趋势仍然存在，因此根据过去的发展趋势，甚至将来人工智能完全取代口译员工作也并非完全不可能。 --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 00:25, 8 October 2020 (UTC)<br /> <br /> 新形口译呈人工控制,数字科技支撑的混合形式。口译员需拥有科技和数字技能和设备。 没有了实时科技的支撑，口笔译活动无法实现，而接通网络是最基本的要求。由于客户缺乏对该行业的了解，在交往中使用业余译员，资历不够的低价译员以及使用自动翻译程序，例如多语种网站，这些都是造成翻译质量下降的因素。不过，通过人工智能的研究，我们可以观测到自动化口译，翻译质量提高的长期趋势。所以根据过去发展的推断，在未来，即使用人工智能来完全取代人类口译员也不是完全不可能的事。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:42, 8 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yao Cheng 姚诚==<br /> Appropriateness as the Least Common Denominator of Translation and Interpreting<br /> Foreword by Martin Woesler, Hunan Normal University, China<br /> <br /> Interpreting theories and interpreting studies are as old as human languages. Interpreting practice is exercised as soon as two individuals meet, with verbal and non-verbal languages both being an individual and a shared thing. Every person has his or her personal language and therefore is used to processing input by interpreting.When the person modifies its output according to the recipient, this is also interpreting from the personal language into one which he or she believes is better to be understood by the recipient.<br /> <br /> 翻译理论和翻译研究和人类语言一样古老。两个人相遇那一刻，翻译实践就开始了，此时，口语语言和非口语语言都既是个人也是两人共享的事情。每个人都有自己的个人语言，因此所有人都要通过翻译来处理输入信息。某个人通过回馈信息修改输出语言，也是将自己的个人语言翻译成他所认为的能被接受者更容易理解的语言。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:36, 8 October 2020 (UTC)<br /> <br /> 适当性是翻译和口译的最不常见的特征<br /> 中国湖南师范大学，吴漠汀的前言<br /> 翻译理论和翻译研究和人类语言一样古老。两个人一碰面，翻译实践就开始了，此时，口头语言和非口头语言都既是个人又是两人共享的东西。每个人都有自己的个人语言，因此习惯通过口译来处理输入的信息。人通过接收的信息修改其输出，也是将自己的个人语言翻译成他或她所认为的能更好地理解的语言。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:21, 9 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Similarly, a grandmother and her grandchild communicate in the (supposed) language of the grandchild, the grandmother constantly interpreting complex language into a simpler one. This concept of interpreting, also called polyphony, is still valid when it comes to different (‘national’) languages. Depending on personal language abilities, the Anglophone grandmother would also choose simple French to explain things to her francophone grandchild. And in the case of any lack of respective language abilities, she would simplify things in nonverbal communication.<br /> <br /> ==Yi Huan 易欢==<br /> The earliest evidence of interpreters dates back to 4th millennium BCE Egypt: They were held in high esteem, they were noblemen or priests. Of course translation as opposed to interpreting needs media (text and/or images etc.). In general, translation started with the introduction of the written script and the first texts around 3000 BCE in Mesopotamia, with Ancient Egyptian and the Yi language in the area of presentday China. The earliest Chinese texts date around 1500 BCE.<br /> <br /> ==Yi Zichu 义子楚==<br /> Along the trade route which later was called the Silk Road to Europe. Along this Trade Route, archetype stories were transported and transformed into the languages along the Silk Road, so that we find the archetype of the great flood both in the Gilgamesh Epos around 3000-2500 BCE in Mesopotamia, around 1850 BCE in Egypt, around 950 BCE in the Shijing, around 350 BCE in the Shanhaijing, in ancient Indian tales and in 440 BCE in the Old Testament (of the bible).<br /> <br /> ==You Yuting 游雨婷==<br /> Translators had an impact on the historical development of languages. The Roman dramatist Livius Andronicus (c. 285-204 BC) wrote a Latin version of the Odyssey (250 BCE) and a number of plays commissioned for the Roman Games of 240 BCE. His translations of Greek dramas into Latin founded the Roman drama tradition and shaped the Latin language. Already in the 2nd century BC translations from Greek to Latin were so popular that, for the first time in history, two translators (Plautus and Terence) were able to make a living from it.<br /> <br /> 译者对语言的历史发展有很大的影响。罗马剧作家Livius Andronicus(约公元前285-204年)写了拉丁文版的《奥德赛》(公元前250年)，并为公元前240年的罗马游戏创作了许多剧本。他把希腊戏剧翻译成拉丁文，开创了罗马戏剧的传统，塑造了拉丁语言。早在公元前2世纪，把希腊语翻译成拉丁语就已经非常流行，历史上第一次有两位译者(普劳图斯和特伦斯)能够以此谋生。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:40, 9 October 2020 (UTC)<br /> <br /> 翻译者们对语言的历史发展产生了影响。罗马剧作家卢修斯·李维乌斯·安得罗尼库斯（公元前285至204年）撰写了拉丁语版本的《奥赛罗》（公元前250年），并为公元前240年的罗马游戏舞台创作了大量剧本。他将希腊的戏剧翻译成了拉丁语，开创了罗马戏剧的传统，同时也塑造了拉丁语言。在公元前2世纪，将希腊语翻译成拉丁语的翻译活动就已经非常流行了，因此历史上第一次有两位翻译者(普劳图斯和特伦斯)能够以翻译作品来谋生。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:48, 9 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> The German language, for its part, was shaped by a translator Martin Luther, who translated the Bible, commonly read in Latin at the time, into German. <br /> The prescription, to translate “word for word” was raised both in China and in Europe at a very early time: In the 5th century Dao An, Director of the Imperial Translation School, advocated strict literal translation of the Buddhist scriptures into Chinese. His prescription came from the fear to miss something from the original. It is important to mention that he did not know Sanskrit at all.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> The Indian Buddhist monk Kumarajiva (350-410) carried out a great reform of the principles and methods for the translation of Sanskrit sutras. He advocated a free translation approach with the aim to transfer the true essence of the Sanskrit Sutras. He was the first person in the history of translation in China to suggest that translators should sign their names to the translated work.<br /> 印度佛教僧侣鸠摩罗吉瓦(350-410)对梵文佛经的翻译原则和方法进行了重大改革。他主张采用意译的方法，目的是传递梵文佛经的真正精髓。他是中国翻译史上第一个建议译者在译著上签名的人。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:15, 8 October 2020 (UTC)<br /> <br /> 印度佛教僧侣鸠摩罗吉瓦（350-410）对梵文佛经的翻译原则和方法进行了重大改革，他主要提倡意译的方法，目的是传达梵文佛经的真谛。他是中国翻译史上建议译者在译著上签名的第一人。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:35, 8 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Dao An’s prescription was partly based upon the understanding that the original texts were somehow “sacred”. A similar dogma of literal translations of religious texts was raised in Europe and even determined an ideological battle on free/literal bible translation for centuries. The translator Dolet in 1546 was burned for adding the phrase “Rien du tout. (Nothing.)” to a rhethorical passage about what existed after death.<br /> <br /> 原文某种程度上是“神圣的”。道安的译文正是部分基于这一理解而出的。在欧洲，对宗教文章进行直译时，就有一种类似于他这种观点的教条思想，这甚至可以说是几个世纪以来对《圣经》进行直译还是意译的思想之战。1546年，翻译家多莱因为在一篇描写死后有什么东西还存在的辞藻华丽的文章里面加入了“Rien du tout. (意思是“什么都没有”)”这一短语而被处以火刑。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:57, 10 October 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> Cicero in his book De optimo genere oratum (The Best Kind of Orator) opposed word-for-word translation. For the orator, the target text had to be as forceful and convincing as the original text. Horace called translators, who translated word for word “slavish”. St. Jerome in his book De optimo genere interpretandi (The Best Kind of Interpreting) in 395 CE advocated: “Non verbum de verbo sed sensum de senso.” (Not word for word but sense for sense.)<br /> <br /> 西塞罗在其著作《论演说家》中对直译持有反对意见，对于演说家来说，目标文本必须像原文一样有强大的说服力。贺拉斯称直译者为“奴隶”。圣·哲罗姆则在公元395年完成的《最好的解释》一书中提出：“不能直译，而要意译。”--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:09, 8 October 2020 (UTC)<br /> <br /> 西塞罗在其《论演说家》一书中反对逐字逐句的翻译。对演说家来说，目标文本必须与原文一样有强大的说服力。贺拉斯称逐字逐句翻译的人为“奴隶”。圣·杰罗姆在公元395年所著的《最好的解释》一书中主张“不要逐字逐句翻译，要意译。”--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:16, 9 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, Apuleius altered Greek dramas beyond recognition. Quintilian understood that translations shape also the target language, which he called “enrichment”. He further developed translation studies by establishing terms like metaphrasis (word-for-word translation) and paraphrasis (sentence-by-sentence translation), later further developed by Dryden (1680). Tytler (1797) advocated instead, that the translation should give a complete transcript of the ideas of the original work, with the same style, manner and ease.<br /> <br /> 然而，阿普列尤斯采用意译方法所译的希腊戏剧却令人难以理解。昆体良认为，翻译也可以对目的语进行塑造，这一观点被其称为“增润”（enrichment）。他通过建立诸如metaphrasis（逐词翻译）和paraphrasis（逐句翻译）之类的术语发展了翻译研究，随后德莱顿（1680）对此有了进一步的完善。而泰特勒（1797）则主张，译作应该完全复写出原作的思想，拥有与原作同一性质的风格和手法，并具备原作的通顺。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:31, 8 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> In Republican times, Lu Xun and Qu Qiubai were among the prominent advocates of a literal translation. Chinese translation studies has embraced the English term “translatology”, while internationally, the research is named “translation and interpreting studies”, which is also the term for the volume in hand.<br /> <br /> But the dichotomy of free/literal did not shape the whole discourse in translation studies. Other dichotomies were foreignizing/localizing and imitation/re-creation (Dong Qiusi 1946).<br /> <br /> 民国时期，鲁迅和瞿秋白是直译的主要倡导者。中国翻译研究已包含英文术语“翻译学”，但在国际上，该研究称为“翻译和口译研究”，这也是手头卷的术语。<br /> <br /> 然而，意译和直译的二分法并没有塑造翻译研究的整个论述。其它二分法包括异化或归化以及模仿或再创作（董秋斯，1946）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:49, 10 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> A prominent advocate of foreignizing was Schleiermacher in the 19th century, who advocated that the source text should shine through the target text, since thoughts would shape the language. This was further elaborated by Walter Benjamin and Ortega y Gasset. The Sapir/Whorf hypothesis is the assumption that different languages lead to a different understanding of the world.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> Chinese translation studies is not at all referring to a Chinese tradition of translation studies, but to translation studies dealing (also) with Chinese as a language. However, most of the research conducted in this area holds also true for other languages and therefore for interpreting and translation studies in general. It might be questioned if a Chinese tradition of translation theories exists. Students of translation studies often choose the topic “Comparison of Chinese and Western Theories of Translation”.<br /> <br /> ==Zhang Hu 张虎==<br /> However, they get frustrated because they cannot find elaborated theories coming from China and they end up calling normative prescriptive concepts like “xin, da, ya” (faithfulness, expressiveness and elegance) by Yan Fu “translation theory”. Yan Fu’s three ideals are better called a prescriptive recommendation for practical translation strategies. Of course the ideals are questionable, for why should a postmodern poem including the stuttering line “I, I c…, I can’t breath!” be translated into an elegant line in a different language?<br /> <br /> ==Zhang Hui 张慧==<br /> Similarly, the “transfiguration theory” by Qian Zhongshu with his concept of the “sublime” may count as an important statement, that translation and interpreting cannot be analyzed and understood to the last resort and keep their air of mystery. However, recent neurological research and artificial intelligence research have been tackling this last resort already.<br /> <br /> 同样，钱钟书的“转化理论”和他的“化境”概念可以作为一个重要的说明，即翻译和口译不能够被分析和理解到最后，并保持其神秘性。然而，最近的神经学研究和人工智能研究已经在解决这一最后的手段了。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:57, 8 October 2020 (UTC)<br /> 同样，钱钟书的“转化理论”和他的“化境”概念可以算作一个重要的说明，即不能够将笔译和口译分析和理解为最后一种手段，而忽略其艺术性。然而，最近的神经学研究和人工智能研究已经在解决这一最后手段了。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:07, 8 October 2020 (UTC)<br /> <br /> <br /> 同样的是，钱钟书所提出的化境翻译理论，以“崇高”作为其概念，是一种重要的陈述，而笔译和口译不能被分析或理解成最后一种方式来保证其神秘。然而，最近的神经研究和人工智能研究已经开始处理这一最后步骤。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 01:43, 10 October 2020 (UTC)Yang Chenting<br /> <br /> ==Zhang Ling 张玲==<br /> Still, Chinese is an important language and it has some characteristics, which make research especially on Chinese in translation and interpreting studies valuable. One characteristic is that the meaning of a sentence may change totally until the very end of the sentence. Imagine just a “……的说法我反对。” (… is a statement I oppose.) at the end. Therefore, the decalage for conference interpreters interpreting from Chinese into other languages is quite long.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Seyed Hossein Heydarian has analyzed the statistical occurrences of certain translation strategies with different pairs of languages. According to his findings, every language has a specific fingerprint of translation strategies, each fingerprint referring to specific language pairs.<br /> <br /> The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as the written language was invented, critical reflection also started and with it translation theories and translation studies.<br /> <br /> ==Zhang Qi 张琪==<br /> The first thoughts about transferring the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma with people not adhering to them being tortured or executed, especially in the religious context, when the original was declared “holy” and certain groups claimed the monopoly authority of interpreting. During translation history, the perspective changed from “prescriptive” to “descriptive”, reflecting a more neutral approach of analysis.<br /> <br /> 一开始将一种语言的含义转换为另一种相似含义的语言的想法是有规定和原则的，它有时被夸大为教条，尤其是在宗教环境中，当宣布原语言为标准或某些团体声称拥有口译权的时候。人们不会遵循这些规定而遭受酷刑或处决， 在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 09:00, 8 October 2020 (UTC)<br /> 将一种语言的含义转换为另一种语言的类似含义，对于这一最初想法，人们奉为规定性原则。在某些情况下，尤其是宗教环境中，这一“原则”甚至被夸大为教条，声称原文是神圣的东西，一些团体甚至扬言有权垄断翻译。因此，人们只要是不遵守，要么接受酷刑，要么直接处死。在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:47, 9 October 2020 (UTC)<br /> <br /> 一开始将一种语言的含义转换为另一种相似含义的语言的想法是要遵循约定俗成的规定和原则的，它有时被夸大为教条，人们便不会遵循这些规定因而遭受酷刑或处决，尤其是在宗教环境中，当宣布原语言为标准或某些团体声称拥有口译权的时候。 在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:47, 9 October 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> However, translation theory needs to be able to go beyond the description of translation to show parallels and differences between different translation processes in order to come to a generalized model which could serve to help understand the process better. Translation theories can also offer different translation methods/strategies depending on intersubjectively comprehensible criteria.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> In the Renaissance, the most extensive treatise on the topic of translation is the Interpretatio linguarum (1559) by Laurence Humphrey. It is situated in the context of a debate initiated by Joachim Périon in 1540, who analyzed Cicero’s recommendations on translation. Cicero proposed, that the purpose of a translated speech was to be persuasive, therefore the translator needed to be free in his translation and not be bound by the original and by the request of a literal translation.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> Périon shifted the focus from the dichotomy of literal/free to the people involved in translation and to the interpersonal act. Humphrey understood translation as self-expression, a very modern understanding. There is an interesting new study by Sheldon Brammall (2018) in the Review of English Studies 68 (288) documenting the debate. It includes an annotation of the Interpretatio in 1570 by Gabriel Harvey. He recognized the text as an important document of early English translation studies. The text questions the applicability of the concepts in Interpretatio.<br /> <br /> 佩里昂将关注点从文字或自由二分法转向了翻译人员和人际交往行为上。汉弗莱认为翻译是自我表达，这是一种非常当代的理解。谢尔顿·布拉姆莫尔在《英语研究评论68》（288）中做了一项新的有趣的研究，记录了这场辩论。这个研究包含了加布里埃尔·哈维在1570年对《翻译》的注释。他认为这一文本是早期英文翻译研究的重要文献。它对概念在翻译中的适用性提出了质疑。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:03, 9 October 2020 (UTC)<br /> <br /> 佩里昂将关注点从直译或意译的二分法转向了翻译人员和人际交往行为上。汉弗莱将翻译视作自我表达，这是一种非常现代化的理解。谢尔顿·布拉姆莫尔在2018年做了一项有趣的新研究，他在《英语研究评论》第68期第288页中记录了这场辩论。这个研究包含了加布里埃尔·哈维在1570年对《翻译》的注释。他认为这一文本是早期英文翻译研究的重要文献。这一文本对概念在《翻译》中的应用提出了质疑。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:59, 10 October 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> In the 1960s, translation was simply an element of language learning. Translations of Aesop’s Fables in several languages (including in Chinese by Jesuit missionaries in China) were efforts at transmitting language learning textbooks. Only in the 1970s, did translation studies start to become aware of itself as an academic discipline, starting with a volume edited by André Lefevere. Some scholars chose the perspective of the contrastive approach.<br /> <br /> 20世纪60年代，翻译仅仅是语言学习的要素之一。《伊索寓言》多种语言的译本（包括耶稣会传教士在中国翻译的中文译本）促进了语言学习教科书的传播。仅在20世纪70年代，翻译研究开始意识到其自身作为一门学科，这一研究活动始于安德烈▪勒菲弗尔编辑的一卷书。一些学者选择从对比分析法的角度开始研究。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:22, 9 October 2020 (UTC)<br /> <br /> 在20世纪60年代，翻译只是语言学习的一个要素。为了传播语言学习教材,《伊索寓言》被翻译成多种语言(包括耶稣会传教士在中国翻译的中文)。直到20世纪70年代，翻译研究才开始意识到自己是一门学术学科，其始于安德烈·莱弗维尔(Andre Lefevere)编辑的一部著作。一些学者选择从对比分析法的角度开始研究。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 08:29, 9 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> Eugene Nida, a bible translator, derived theory from practice while introducing linguistic theory and formal equivalency into translation studies. He defined verbatim translation, literal translation, faithful translation, semantic translation, compilation, free translation, authentic translation and communicative translation. Later, his research was further elaborated with strong linguistic approaches and theories of equivalency and was followed by methods from discourse analysis and the speech act theory (translation as a communicative act in a social cultural context).<br /> <br /> ==Zhang Yuxing 张宇星==<br /> There was a revival of the descriptive approach, which regards the target text as most important, and then the Skopos theory, which advocats functional equivalency and values the translator as most important. In the early 1990s, as a reaction to linguistic ‘scientific’ analysis, the theoretical and methodological shift in Translation Studies towards cultural studies is primarily associated with the works of Susan Bassnett, André Lefevere, and Lawrence Venuti.<br /> <br /> ==Zhao Xi 赵茜==<br /> The volume at hand is both from practitioners in the field and scholars who embed their research in the theoretical framework of the field as well as into its development. In the field of translation and interpreting studies, the claim about Asian or Western traditions is overcome. We have international scholars from both sides whose only qualification is their expertise in the field. Still the voices are diverse, since they cover a large range of topics and perspectives, symbolizing how diverse the research is today. The key word today is transdisciplinary research.<br /> <br /> 现有的这本书是由该领域的从业人员和研究理论框架及其发展的学者所编写的。在口笔译研究领域，关于亚洲或西方传统的言论已经消除。我们拥有来自亚洲和西方精通专业的国际学者。至今人们仍持有不同的声音，因为它们涵盖了广泛的主题和观点，体现着现如今研究的多样性。当今的关键词是跨学科研究。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:18, 9 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> In translation history, especially when translation studies consisted mostly of prescriptions, ideals were pursued and equivalency was sought for, although a source text and a target text can never be totally equivalent. The myth of untranslatability was created by Wilhelm von Humboldt in the 19th century and further elaborated by L. Weisgerber in the 20th century, although everything is translatable.<br /> 在翻译史上，尤其是当翻译研究主要集中在翻译方法方面时，翻译就开始追求完美和对等，即使源语和目标语根本不可能完全对等。虽然一切语言都是可译的，但是19世纪威廉·冯·洪堡创造了不可译性这个谬误，20世纪里奥·韦斯伯格又对这一观念进行了进一步阐释。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:57, 8 October 2020 (UTC)<br /> <br /> 在翻译史上，尤其是当翻译研究主要集中在翻译方法方面时，翻译就开始追求完美和对等，即使源文本和目标文本根本不可能完全对等。虽然一切语言都是可译的，但是19世纪威廉·冯·洪堡创造了不可译性这个谬误，20世纪里奥·韦斯伯格又对这一观念进行了进一步的阐释。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:06, 8 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> It is more a question of appropriateness and acceptance of a translation. Evaluation criteria for the quality assessment of translations have been developed, although it can never objectively be judged, how far the translation result (also called “translat”) corresponds to the source text. In certain situations, it is appropriate to translate a pear into an apple (for example if the function of this fruit in the story stays the same and for the target audience apples are as common as for the source audience pears).<br /> <br /> ==Zhou Luoping 周罗平==<br /> As we have witnessed during the history of translation studies, the concentration has been on the different actors in the field of translation: “Skopos” concentrating on the function for the target audience and on the person and intention of the translator, “foreignizing” the text by moving it closer to the source author (and staying loyal to him/her) or “localizing” it, thus moving it closer to the target audience.<br /> 在翻译研究的历史中，我们见证了翻译领域中不同的行动者的关注:“目的论”关注目标受众的功能，关注译者的个人和意图，“异化”文本，让其更接近原文作者(并保持对原文作者的忠诚)，或者“本土化”文本，从而更靠近目标受众。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 14:30, 8 October 2020 (UTC)<br /> <br /> 在翻译研究史上，对翻译领域不同角色均有所关注：“目的论”关注目标受众，注重译者自身及其目的，“异化”强调使译本尽量接近原文作者（并忠实于原文作者），亦或“本土化”，强调使译文尽量接近目标语受众。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 02:03, 9 October 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> “Hybrid men-machine translation” moves the focus to the individualization of the target texts, tailoring translations to the needs of individual readers/spectators. Neurology will map the thought processes necessary to create a thinking artificial intelligence and even tackles issues like consciousness, (self-)awareness, understanding as well as artificially enhanced human translation, swarm intelligence and consciousness.<br /> “人机混合翻译”关注目标文本的个性化，以满足读者或观众的个性化需求。人们根据神经学原理打造出会思考的机器人。机器人可以向人一样思考，甚至还具有意识，自我意识，理解能力，以及人为强化人工翻译，群体意识和意识。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:28, 8 October 2020 (UTC)Zhou Shiqing 周诗卿<br /> <br /> “人机结合翻译”关注的是目标文本的个性化，根据读者或观众的个人需求提供量身定制的翻译服务。神经学将编制出一套思维程序，必要时打造出一个可以像人一样思考的机器人，甚至还能解决问题，不仅具有意识、自我认知和理解能力，同时具有人为强化的人工翻译、集群智能和集体意识。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:52, 8 October 2020 (UTC)<br /> <br /> ==Zhou Shuyao 周书尧==<br /> Besides this trend towards individualization, there is a growing interest in sociology to understand translations as social processes and to concentrate on the interaction between the different actors.<br /> <br /> ==Zhou Siqing 周思庆==<br /> Certain things have turned out to be of eternal wisdom. It is also important to know your native language well, not just the foreign language.<br /> 结果证明有些事是永恒的智慧。不仅是学习外语，学习母语也很重要。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 14:24, 8 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> We have also witnessed a journey of theories over the centuries, which all highlight different aspects of the phenomenon. They constrain themselves to the medium, the area, the grammatical level, the text-type, to certain problems (like establishing equivalence), they are oriented at products, functions or processes.<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> All these theories are at hand today to explain different parts of the translation process. We see different functional approaches, empirical-pragmatic ones, including didactic questions instead of old normative/prescriptive translation studies, approaches from the neurological and the social sciences, all trying to become aware of the translation process.<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> However, as Mary Snell-Hornby requested already in 1988 with her proposition of “integrated translation studies”, these theories need to be seen together as one today.<br /> <br /> 然而，正如Mary Snell-Hornby在1988年提出的“整合翻译研究”的主张所要求的那样，这些理论在今天需要被看作是一个整体。<br /> <br /> All of these theories can be boiled down to one question they serve: Is the translation appropriate? In other words, is it adequate, suitable, reasonable, fair, just, apt, situationally fitting, does it work in the target language/culture?<br /> <br /> 所有这些理论都可以归结为一个问题:这样翻译合适吗? 换句话说，它是否充分、合适、合理、公平、公正、恰当、应景，在目标语言/文化中是否仍适用?--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 08:23, 9 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> Therefore, the “Appropriateness Theory” is the final theory of all translation theories. Of course there may be different answers to the question of appropriateness in different times and from different actors, perspectives, disciplines etc. An evaluation of the appropriateness of a translation can only be relative and never absolute.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> Therefore it is necessary to establish a system of evaluation, valuing the different aspects such as the function of the text, loyalty to the author, the ideals of literal/free translation, and how far a translation can ‘work’ in the target language.<br /> <br /> Of historical importance is the question for appropriateness, which in turn leads us to fundamental ethical questions: Should you report things you overheard from the foreign negotiation team to your own team to enhance your own team’s chances?<br /> <br /> ==Zhu Xu 朱旭==<br /> Is it appropriate to tell a standard joke in the target language when the country’s leader has told a racist joke? What implications does it have about the foreign country’s leader, when he laughs at your standard joke? The country’s leader may think he laughed at his (racist) joke. Is it appropriate to take over the role of a negotiation participant when you are hired for interpreting? (See the contribution in this volume.) When you are a wartime interpreter: Is it appropriate to translate propaganda and to interpret for a dictator?<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Is it appropriate to translate the German order “Feuer!” [Shoot!] by the German commander into French if the collaborating French soldiers would commit a crime against humanity when they understood and executed the order? Where to draw the line to refuse to translate? What consequences does it have if you refuse? What responsibilities do interpreters and translators have? The Appropriateness Theory is complex and shows us that a Code of Ethics needs to be established.<br /> <br /> Bochum/Germany, September 30, 2020<br /> <br /> 德国指挥官发出命令“开火”，把这一德语命令翻译成法语，合作的法国士兵们要是听懂并执行了，就违背了人道，那这样翻译是否恰当？在哪里划分拒绝翻译的界线？如果拒绝翻译会有什么后果？口笔译者们有什么责任？恰当性理论十分复杂，表明我们需要确立道德规范。<br /> <br /> 2020年9月30日 德国/波鸿--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:48, 9 October 2020 (UTC)Zou Xinyu</div>

Wu Kai https://bou.de/u/index.php?title=20201005_trans&diff=99619 2020-10-10T05:54:13Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>==Cao Runxin 曹润鑫==<br /> Modern Interpreting with Digital and Technical Aids<br /> <br /> Challenges for Interpreting in the 21st Century <br /> <br /> Martin Woesler, Hunan Normal University/China<br /> <br /> Abstract<br /> <br /> The world is growing in tandem with the Internet, freedom of travel and globalization. Inevitably translation and interpreting are in greater demand, especially online during the coronavirus pandemic. With the beginning of the 21st century, interpreting faces new technical and digital challenges requiring new methods of delivery. Technical developments in the course of digitization have been on the rise and are approaching real-time use simultaneous capability. The technology supporting the interpreter is becoming more and more effective, while an increasing number of systems, such as artificially intelligent programs, are competing with the human being. The interpreter must now be a technology organizer and adroitly adapt to technologically predefined interpreting situations, such as video conferences with augmented reality, tele-interpreting, etc.<br /> <br /> 数字与科技辅助的现代口译<br /> <br /> 21世纪口译面临的挑战<br /> <br /> 马丁·沃斯勒（Wu Moting），湖南师范大学 中国<br /> <br /> 世界的发展正与互联网、旅行自由化和全球化齐头并进，尤其是在新冠疫情期间，人们对线上笔译和口译的需求更大。在21世纪初，口译面临新科技的挑战，需要新的提供服务的技术手段。数字化进程下的技术发展一直在上升，并且逐渐实现实时同步的能力。口译员的使用的科技越发高效,随着科技系统数量不断增多，出现了大量与人类竞争的翻译系统，比如人工智能程序。因此，如今的口译员必须要知道如何使用科技，还要快速适应一些技术上预先设定的口译情况，比如增强现实的视频会议，电话口译等。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 09:30, 9 October 2020 (UTC)<br /> <br /> ==Chang Huiyue 常慧月==<br /> <br /> The movements of migrants within the EU and the influx of refugees from crisis areas outside of it render community interpreting especially of rare languages in unprecedented demand, often resulting in the unsavory use of non-professional and sub-standard interpreters. Existential problems for the entire profession become apparent. Due to networking via the Internet, unqualified interpreters pour onto the market from low-wage countries: with dumping prices and low-quality services, they discredit the profession of the professional interpreter. Meanwhile remuneration practices have been declining, with payment of interpreting services often being delayed or payment defaulted. All these lead to a devaluation of the profession of the interpreter while digital technology throws into doubt the need for the role of the human as interpreter or translator. <br /> <br /> ==Chen Han 陈涵==<br /> <br /> The positive side of technological advancement is that communication (including translation and interpretation) becomes digital and therefore can be enhanced with artificial intelligence. This enhancement takes interpreting and translation to a new quality level. Translation and interpretation theory needs to adapt to translation and interpretation in the age of artificial intelligence, the focus, which has moved with the functional approaches to the translator, now moves to the target text audience. The new way of interpreting is a human, but digital-technically determined hybrid form of human-machine interactive interpretation, with due respect for the human participation expressed in the form of professional remuneration.<br /> <br /> 技术进步带来的积极影响是交流（包含笔译与口译）日益数字化，于是交流可以通过人工智能得以加强。这种加强将口译与笔译水平提升到新高度。因此，相关理论需要适应人工智能时代下的笔译与口译。在过去，理论的重心从功能方法上转移到译者，而现在转移到目的语受众。新的口译方式是有人类参与的，不过是一种混合形式，即由数字技术支撑的人机交互口译，同时，以专业薪资待遇对人类译员表示尊重。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 05:00, 10 October 2020 (UTC)<br /> <br /> ==Chen Hui 陈惠==<br /> <br /> Keywords<br /> <br /> interpreting; artificial intelligence; simultaneous interpreting; real-time support; interpreting technology; digitalisation; interpreting software<br /> <br /> 1.Literature Review<br /> <br /> In 2006, Honegger notes in a survey that most prospective interpreters do not use software in the interpreting booth, but work with paper glossaries which they have created with MS Word or MS Excel. Fantinuoli (2011, 50) states five years later that most interpreters still manage their terminology traditionally with MS Word or MS Excel. In 2015 20- to 30-year-old interpreting students state in a survey by Gacek that &quot;software solutions are not sufficiently known among prospective interpreters and therefore are not used&quot; (Gacek 2015, 82). The purpose of the present study is therefore to draw attention to the functionality of software for interpreting booths.<br /> 关键词：口译，人工智能，同声传译，实时支护，口译技巧，数字化，口译软件。<br /> 1、文献综<br /> 在2006年，霍尼格在一份调查中写道，大多数杰出的口译家在口译室中都不会适应翻译软件，而是使用他们用文档或者表格创造出来的词汇进行工作。在2015年，一些二三十岁的口译学徒在一份调查中说：“软件翻译在那些杰出的口译者当中流传不广，所以他们不太使用。”因此目前研究的目的就是吸引翻译工作室注意到翻译软件的功效。--[[User:Chen Hui|Chen Hui]] ([[User talk:Chen Hui|talk]]) 15:25, 9 October 2020 (UTC)Chen Hui<br /> <br /> ==Chen Jiangning 陈江宁==<br /> <br /> The conference interpreter Anja Rütten (2007) presents valuable information in her information-rich overview, Information and Knowledge Management in Conference Interpreting, and in her numerous blogs in 2013 and 2014 about experiences with hardware and software in conference interpreting. In this paper, also lists of software and technology from Drechsel's interpreting practice in 2005, 2013 are used. <br /> <br /> Standard works on the craft of interpreting (Pöchhacker 2004; Stoll 2009) also form the basis of the present study. Only their suggestions are taken up here and they ought to be reconsidered from the perspective of support by software and technology. In addition, current individual studies are evaluated, such as on distance interpreting (Kalina 2010) and explanations on the use of office programs (Fantinuoli 2011), on web corpora (Gurevych 2013), and on Qtrans (Scholz 2008; Gacek 2015). To compare it with the analogue age, the very early Braun 1999 study on video conferencing is used.<br /> 会议口译员Anja Rutten（2007）在其信息丰富的概述《会议翻译中的信息与知识管理》中提供了十分珍贵的信息。同时，在她2013-2014年的博客中，也记录了非常多在会议口译中使用软硬件的经验。在这篇文章中，同样列举了Drechesel在2005和2013年的口译实践中使用过的软件和技术<br /> 标准作品的翻译工艺（Pochhacker）同样奠定了现代研究的基础。这里只采纳他们的建议， 即应该从软件和技术支持的角度重新考虑。此外， 本研究还评估了目前的个人研究，例如远距离口译（Kalina 2010），办公程序使用解释（Fantinuoli 2011）,网络语料库（Gurevych 2013）以及文档快翻。为了将它与相类似时代相比较，我们用到了1999年早期Braun的视频会议研究。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:24, 9 October 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> Since software and technology are developing rapidly, a study inevitably becomes obsolete quickly. To arrive, nevertheless, at more generally valid statements, the present study focuses on developments and functionality, explaining concrete software and hardware only by way of example, with the knowledge that products are often replaced by others and that only a few can last for a long period of time. In order to get an overview of software and hardware, the current master's thesis by Gacek (2015) is used. However, it only refers to a small selection of products and does not come to generally valid conclusions. This study also addresses the polarizing discussion on how much technology and software the interpreter needs. While Spitzer provocatively speaks of the &quot;digital dementia&quot; of interpreters in 2012, Conway (2014) has taken a more balanced approach to the question of the cost-benefit ratio of the computer in the interpreting booth.<br /> <br /> ==Chen Jingjing 陈静静==<br /> <br /> This paper will also introduce special aspects, like problems posed by trendy community interpreting (Andres 2009) and cheap competition for interpreters, as well as placing networked communication and work on texts in the context of the development of swarm intelligence and a collective consciousness.<br /> Finally, a new type of interpreting is called for, which expects at least technical competence from the interpreter, and at most a hybrid human-machine working method. In this paper, the thesis, already passionately advocated historically, that the computer or artificial intelligence could never replace the human being in certain functions such as language (Austermühl 2004), is no longer categorically excluded.<br /> 本文还会提及一些比较特别的方面，如社区口译流行带来的问题（安德烈斯 2009），口译员之间的廉价竞争以及在群体智能和集体意识发展背景下将网络通信和工作置于文本之上的问题。<br /> 最后，需要一种新型的口译方式，它要求口译员至少具备技术能力，至多采取一种人机混合工作模式。在本文中，认为电脑或人工智能永远也不能取代人（Austermühl 2004）的论点已不再被绝对排除在外了，而这一点在先前早就得到了强烈的倡导。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 02:43, 10 October 2020 (UTC)Chen Jingjing<br /> <br /> ==Chen Sha 陈莎==<br /> <br /> 2.Simultaneous Technology/Technology Working in Real Time<br /> <br /> While in the past technology did not allow simultaneous work support, i.e. it was not possible for translators to work with simultaneous or consecutive interpreting, this disadvantage seems to have been largely overcome technically at the beginning of the 21st century, although there are still too few apps that make use of these new possibilities.<br /> <br /> Arguments against the positive effects of advanced technology include references to over-coding, the abundance of information, etc. These phenomena appear to be a hindrance, especially in connection with the interpreting profession, which requires the highest level of concentration. <br /> <br /> ==Chen Sunfu 谌孙福==<br /> <br /> Spitzer (2012) for example, poses the question of whether computer work causes a mental deterioration of society. Rütten (2014a), on the other hand, refers to Spitzer, pointing out the advantages of the computer, arguing that it has voice output, retrievability through full-text search, spell checking, sorting, categorization and transmission functions. She suggests as a compromise: &quot;Talking about research, challenging one's own memory and always asking about what is meant and the context - if we take this to heart, we have a good chance of making the computer a valuable training tool and an excellent assistant.”<br /> <br /> 比如说，斯皮策（Spitzer）提出了计算机会否在社会上引起精神恶化这个问题。另一方面，卢腾（Rütten ）提到斯皮策的言论时，反而指出计算机有着诸多优点。卢腾称，计算机可输出声音、可通过全文本搜索进行信息检索、可检查拼写正确与否、可进行信息整理、同时还具有分类和传输功能。她建议人们用一种折中的眼光来看待计算机。人们常谈论研究、挑战自身的记忆力、总询问事物的含义和语境。如果我们用心感受那些方面，我们还是有绝佳的机会让计算机成为益处多多的训练工具和优秀的人类助手。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 05:14, 9 October 2020 (UTC)<br /> <br /> 例如，斯皮策（Spitzer）提问：计算机工作是否会引起社会的智力退化？另一方面，卢腾（Rütten）谈及斯皮策时，指出计算机的优势,认为它具备语音输出，可通过全文搜索进行信息检索，拼写检查，排序整理，分类和传输功能。她折衷建议：“如果我们谈谈研究，挑战下自身记忆力，且经常问问看这什么意思，上下文是什么—把这些事放心上，我们还是很有可能让计算机成为一款有益的训练工具，成为优秀的人类助手。”--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 05:17, 10 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> 2.1 Technology to Support the Interpreter<br /> <br /> 2.1.1 Preparation<br /> <br /> Even if a consecutive interpreter is standing next to the speaker, armed with a stenographer's notepad and pencil, and interprets him or her in an apparently analogous manner, even he or she cannot do without technology these days. <br /> <br /> Even during the preparation stage, his duty of care requires him to take into account the accessible sources, some of which are electronic.<br /> <br /> Even more technical possibilities are offered if the interpreter asked to use his own initiative receives speech manuscripts beforehand. These can be scanned, transcribed and prepared, for example by automatic color coding of verbs and realities, which Stoll (2009, 84f.) also recommends for analogue preparation, as it improves anticipation and simplifies syntactic planning.<br /> ==Cheng Yusi 成于思==<br /> <br /> In addition to the concrete preparation of the text to be interpreted, more general preparation can also be supported technically.<br /> <br /> Drechsel (2005, 16f.) lists, for &quot;preparation for the conference topic and the creation of glossaries, electronic tools such as search engines, web catalogues, topic portals, scientific websites, company or customer websites, library catalogues, online libraries, specialised services for e-publications, online magazines, newsgroups and others are used.”<br /> <br /> Online comparison with existing acronyms/abbreviations (Stoll 2009, 85) is also helpful.<br /> <br /> <br /> 除了准备好口译稿以外，常规上还需要更多技术上的支持。<br /> <br /> 德雷克塞尔（Drechsel）（2005, 16f.）列举到，筹备会议主题，创建词汇表可以用到这些电子工具，如搜索引擎，网页目录，主题访问入口，科技网，商贸网，图书目录，线上图书馆，以及为电子出版物，在线杂志和新闻组等专门设置的服务。<br /> <br /> 此外，和现有的缩略词进行在线对比同样有帮助。（Stoll 2009,85）--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 01:44, 9 October 2020 (UTC)<br /> <br /> 除了对所要解读的文本进行具体的准备外，更多的一般性准备也可以在技术上得到支持。德雷克塞尔Drechsel(2005，16f.)列举到 ：“准备会议主题和建立词汇表时可使用的电子工具。如搜索引擎、网页目录、主题门户、科学网站、公司或客户网站、图书馆目录、在线图书馆、以及电子出版物的专业服务、在线杂志、新闻组等。&quot;除此之外，与现有的缩略语/缩写进行在线比较(Stoll 2009, 85)也很有帮助。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 02:38, 9 October 2020 (UTC)<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> Of course, ad hoc knowledge acquisition (Gile 2009) prior to the conference also counts as preparation, such as requesting speech manuscripts and presentations, often in file form. Preparation does not only take place in the weeks before the assignment (&quot;advance preparation&quot;, Gile 2009), but also on site a few minutes before the assignments (&quot;last minute preparation&quot;, Gile 2009) and during the interpreting breaks (&quot;in-conference preparation&quot;, Gile 2009). Stoll categorizes the areas of interpreting preparation as &quot;general technical&quot;, &quot;terminological&quot; and &quot;interpreting strategy&quot; (Stoll 2009, 86).<br /> <br /> 当然，会议之前特别知识的获取（Gile 2009）也可以作为准备工作，例如要求演讲稿和演示文件,通常以文件的形式。口译员不仅需要在会议前几周做准备（“提前准备”，Gile 2009），而且在会议前几分钟（“最后一刻的准备”，Gile 2009）和口译休息期间（“会议中的准备”，Gile 2009）也需要做准备。 斯托尔(Stoll)将口译准备工作分为“通用技能”“专业知识”和“口译策略”三个方面（Stoll 2009，86）。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 16:22, 9 October 2020 (UTC)<br /> <br /> ==Ding Daifeng 丁代凤==<br /> <br /> Here, search engines or electronic dictionaries are often faster than paper dictionaries. Moreover, if, for example, the conference program/list of speakers is updated on a website, the interpreter can adjust his or her planning by accessing the website without further consultation with the client.<br /> <br /> In principle, all technical aids should meet the requirements of being user-friendly, having a fast or real-time response time and being manageable.<br /> <br /> <br /> 在当前的情况下，通过搜索引擎或者电子词典查询信息往往比纸质词典要快。例如，如果会议安排又或是发言人名单在网站上更新了的话，口译人员可以通过访问网站来调整他或她的计划，而无需与客户进一步协商。<br /> <br /> 原则上，所有技术辅助工具都应满足客户的需求、迅速或实时给予客户回答且易于客户管理。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:41, 9 October 2020 (UTC)<br /> <br /> 在这种情况下，搜索引擎或电子词典通常比纸质词典更便捷。 此外，例如，如果网站更新了会议程序或者发言人列表，则口译员可以通过访问该网站来调整其计划，而无需与客户进一步协商。<br /> <br /> 原则上，所有技术辅助工具都应便于用户使用，能快速或实时响应以及易于管理。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 16:37, 9 October 2020 (UTC)<br /> <br /> ==Fang Jieling 方洁玲==<br /> <br /> 2.1.2 Speech to Text in Real-time with Low Error Rate<br /> <br /> Every smartphone today has a mode or apps with which it records speech and converts it into text in real time with a now justifiably low number of errors. <br /> This simple function alone is valuable for the apparently analogue consecutive interpreter: He can put his shorthand pad in a folder in which, for example, the smartphone is inserted on the left and has written down the spoken text as text. <br /> ==Gan Fengyu 甘奉玉==<br /> <br /> While he works with his notes in interpreting notation on the right, as he used to do on the right, and can insert the pen into a holder on the folder if necessary, the transcription on the left enables him to find his way back into the context at a glance or, at most, with a wiping movement in the event of a pause in his hesitation (colloquially known as a 'hang up') or even a 'blackout'.<br /> <br /> Drechsel (2013) demonstrates the use of the following programs/websites on the Ipad (which helps him to concentrate on individual processes): Documents (manages documents and allows editing), Interplex, LookUp (terminology databases), Wikipedia, Google.<br /> ==Gao Mingzhu 高明珠==<br /> <br /> Tablets like the Ipad have the following advantages over the conventional laptop, notebook or netbook in the cubicle: They are lighter, smaller, handier, the battery lasts longer, typing is silent, you can use apps, your work is not interrupted by updates or pop-ups, you can take notes by hand and record things in the background for archiving or follow-up. Of course, due to the data protection regulation, the consent of the client must be obtained before recording.<br /> <br /> 平板电脑，如苹果平板电脑，相比传统笔记本电脑、室内台式电脑有着很多优势：更轻巧便携，电池耗电慢，无声键盘，可以使用各种软件，而且不会受到更新或者弹出窗口的困扰，可以用手记笔记，可以将信息记录在后台以存档或日后查看。当然，根据数据保护规定，进行信息记录前，平板会先征取使用者的同意。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 06:20, 9 October 2020 (UTC)Gao Mingzhu<br /> <br /> ==Gong Yumian 龚钰冕==<br /> The disadvantage of not being able to see several windows at the same time appears to be an advantage to Drechsel (2013) from his personal experience, because it allows him to concentrate better on one thing. However, he neither has all the Office applications with him nor his domestic terminology databases. A possible compromise could be a laptop with a touchscreen.<br /> <br /> 从德雷克塞尔（(Drechsel） (2013)的个人经历来看，不能同时看到几个窗口的缺点似乎是一个优势，因为这使他能够更好地专注于一件事。然而，他既没有所有的Office应用程序，也没有国内术语数据库。可能的折衷方案是用一台带有触摸屏的笔记本电脑。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:24, 8 October 2020 (UTC)<br /> <br /> 从德雷塞尔(Drechsel)(2013)的个人经历来看，不能同时看见几个窗口同时也是一个优点，因为这样可以使更好地专注于一件事儿。然而，他既没有办公软件地应用，也没有国内术语语料库。唯一一点好的就是他有一台触屏笔记本电脑。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:52, 8 October 2020 (UTC)<br /> <br /> 从德雷克赛尔的个人经历来看，他认为不能同时看到几个窗口这个缺点似乎是个优点，因为这让他可以更专注于一件事上。然而，他既没有所有Office办公软件，也没有国内术语数据库。一种折衷方法就是拥有一台触屏笔记本电脑。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:43, 9 October 2020 (UTC)<br /> <br /> ==Gu Dongfang 顾东方==<br /> 2.1.3 From Text in Source Language to Text in Target Language<br /> <br /> Not yet very professional but available as prototypes are transcription systems that offer a translation in a second screen (e.g. translator.google.com, fanyi.baidu.com, for European languages DeepL.com) in addition to the real-time transcription of the source language presented in 1.1.1. On the smart device, for example, an upright screen can be divided into an upper transcription area and a lower translation area. <br /> ==Guan Qinqing 管钦清==<br /> Here, too, constant trial and error is required to improve the quality of the interpretation. It is also individually different how much different information the individual interpreter is able or used to process. If the flow of data is too large, there is a risk that concentration or the flow of production will be impaired.<br /> <br /> 2.1.4 Keyword Cloud<br /> <br /> Helpful for the interpreter's work is the insertion of key terms and their translation into the target language in real time in the form of dynamic clouds, i.e. in real time and the longer a pause before the interpretation of the relevant term lasts.<br /> <br /> 这里也是如此——提高口译质量需要不断进行试错。同样，每位译员本身能够，或者是说适于处理不同信息的数量也有差别。如果数据流太过庞大，就会存在译者专注度降低或是译文产出量减少的风险。<br /> <br /> 2.1.4 关键词群<br /> <br /> 输入关键词或者通过动态云即时将源语转化为目的语，这对译者的工作大有帮助。比如：在对相关术语进行口译之前及时停顿或停顿更长时间。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:22, 9 October 2020 (UTC)<br /> <br /> ==Gui Yizhi 桂一枝==<br /> In my opinion, the development of a corresponding app would be a desideratum. It would not be used intensively, but would be conceived as an additional screen for the corner of the eye, which is preferably perceived subconsciously and which one can turn to when one has a hesitation pause and is looking for stimulation. Here, terms that have been interpreted according to the proposal should turn green and others grey. It should be possible to turn back the displayed cloud by fractions of a second in the timeline by pointing and wiping. Of course, it should be capable of learning, i.e. it should be able to memorize frequent non-standard translations and offer them itself.<br /> <br /> In the post-processing phase, the program should offer a list of terms to be practised and has the non-standard translations approved manually by the interpreter.<br /> ==Guo Lu 郭露==<br /> 2.1.5 Effects of Technology<br /> <br /> The interpreting profession has changed due to hardware and software development, especially since the 1990s, which has essentially made interpreting easier and better. Whether a technology or an app makes it into the consecutive or simultaneous interpreting situation and even into the interpreting booth is subject to the highly subjective decision-making power of the individual interpreter, just like the interpreting notation, which varies from person to person. New techniques should only be tried out if they bring about a real improvement in use.<br /> <br /> 2.1.5 科技的影响<br /> <br /> 电脑软硬件的不断升级使得口译的专业程度也逐步提高，20世纪90年代以后，软硬件的发展让口译更加简便的同时，也提高了口译的准确性。一种技术或一款软件能否应用于交传、同传甚至是口译箱，极大程度上取决于译员本身，和口译符号一样，译员与译员之间各有不同。新的技术只有真正带来革新才能投入使用。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:49, 8 October 2020 (UTC)<br /> <br /> 2.1.5 科技的影响<br /> <br /> 20世纪90年代以来，由于电脑软硬件的升级，口译的专业性也不断提高，这在降低了口译难度的同时，也提高了其准确性。正如译员之间口译符号各不相同，一种科技或一款软件能否应用于交传、同传甚至是口译箱，极大程度上取决于译员本身。新科技应该加以试验，以检测其是否能带来革新。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 02:07, 8 October 2020 (UTC)<br /> <br /> 2.1.5 科技带来的影响<br /> 电脑软硬件设施的完善使口译员的职业发生了改变。特别是自20世纪90年代以来，译员的工作变得更加方便和成熟。正如不同译员间的口译笔记符号是有差别的一样，一项技术或软件能否被应用在交传或者同传的场合或者进入同传箱，取决于译员个人的主观决断。新的技术只有在实际使用中带来进步，它才有被尝试的价值。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:53, 8 October 2020 (UTC)Zhou Shiqing 周诗卿<br /> <br /> ==Han Haiyang 韩海洋==<br /> It is not in anyone's interest to use the latest technology for its own sake if this means a loss of quality in the interpretation. Conversely, an interpreter should be open to accept new techniques and software if they can improve his work.<br /> <br /> 2.1.5.1 The Presence of the Interpreter at the Place of Assignment<br /> <br /> The interpreter can influence physical and spatial matters by being present at the place of assignment:<br /> <br /> a) He/she can acquire vocabulary in advance in exchange with the client, compile vocabulary lists, practise them and also physically take them into the booth as paper printouts or on the screen.<br /> 并不是所有人都会喜欢用这些最新的科技产品，如果它们使得口译的质量产生了折扣。相反，一个口译人员应该以包容的心态来接受这些新技术，如果它们可以帮助提高工作质量的话。<br /> <br /> 2.1.5.1 在会议室的口译员<br /> <br /> 当口译人员在会议室的时候可以对周围的事物产生一定的影响：<br /> <br /> a) 他/她可以提前与客户交流得到所需词汇，然后整理成表，不断联系，最后切实的打印出来带入口译间或显示在其屏幕上。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:12, 9 October 2020 (UTC)<br /> <br /> 如若使用最新的科技产品导致口译的质量大打折扣，出于个人利益，不是所有口译员都会此感兴趣。相反，如若它们可以帮助提高口译工作质量，口译员都会以包容的心态来接受这些新技术产品。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:47, 9 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> b) He can request speech manuscripts in advance or speak directly to speakers on site and ask for a copy of their speech manuscripts.<br /> <br /> c) In case of early contact with the Interpreter Equipment Company, he may be able to influence positioning the interpreting booth so that he can see the speaker and the PowerPoint presentation. In the case of video conferences (e.g. by zoom, voom/Tencent Meeting, BigBlueButton, Skype, Tencent Classroom, MS Teams etc.), he can make sure that he can see all the speakers, including those who appear on screens, so that he can also recognize non-verbal signals and incorporate them into the interpretation. In principle, it is recommended that the interpreter is also shown on screens or in video conferences on a small side window in order to better understand the interpretation.<br /> <br /> b)他可以提前要取演讲稿或者直接跟在场的讲话者要一份他们演讲稿的复印版。<br /> <br /> c)如果译者早一些与翻译设备公司沟通交流的话，他也许能够选择口译室的位置，这样的话他就可以看见讲话人和幻灯片演示文件。如果是视屏会议（如zoom,腾讯会议,BigBlueButton,Skype,腾讯课堂，MSTeams等），他要确定他能够看见所有的讲话人，包括那些出现在屏幕上的，这样的话他就可以识别一些非语言信号，并且将其融入翻译中。原则上，为了让大家更好地理解翻译，译者也应该出现在镜头里面或者视频会议地小窗口里面。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 15:45, 8 October 2020 (UTC)<br /> <br /> b)他可以提前请求得到手稿或者直接和在场发言人交流并申请一份演讲手稿的复印件。<br /> <br /> c) 如果有提前和口译设备公司沟通过的话，他就可以确定口译间的位置，这样他就可以看到发言人人和播放的幻灯片。在视频会议中（比如zoom，腾讯会议，BigBlueButton,Skype,腾讯课堂，MS Teams 等等）他就可以确保他能看见所有的发言人，包括那些在屏幕上的，这样他就可以收集到非口语的信息，将其整合到口译当中。 原则上，口译人员也应当出现在屏幕上或者在视频会议的一个侧边窗口，这样他就能更好的进行翻译工作。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:50, 9 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> d) Before the event, the interpreter can be introduced to the interpreting equipment by the technician and test the audio system, determine and announce the channel-language assignment (experienced clients post these and instruct the staff who issues the receivers to inform the participants of the assignment), adjust the volume of the headphones and arrange the aids on the work table.<br /> ==Hu Baihui 胡百辉==<br /> e) He/she can coordinate with his/her interpreting colleague regarding, e.g. glossaries, agenda, and exchange documents, then both can determine the approximate intervals between changes or simply notice during the assignment if the colleague is at a loss and give a helping hand with writing a missing term on a piece of paper. He/she can also nudge him/her to draw his/her attention to something. He/she can share glossaries and documents electronically, e.g. with the Interplex program simply with a swipe to the left. He/she can also take over the interpretation prematurely in case of exhaustion of his/her colleague.<br /> ==Hu Huifang 胡慧芳==<br /> The number of distance interpreting assignments has already been increasing before the coronavirus pandemic, but with Corona, it exploded. Before Corona, a combination of telephone and web communication was used. With the coronavirus pandemic, Zoom was used more frequently and the Business version comes with a conference interpreter menu.<br /> <br /> AIIC, BDÜ, European institutions and other international organizations agreed (Kalina 2010) on the following conditions as minimal professional standards for distance interpreting:<br /> <br /> ==Hu Jin 胡瑾==<br /> - As a rule, a direct view of the room should be possible.<br /> <br /> - To avoid multilingualism, distance interpreting should only be used in exceptional cases when more than six active languages are spoken. But even then, as many booths as possible should be available in the room and the booths of the distance interpreters should not be too far away.<br /> <br /> - High-definition monitors should be installed in front of and not in the booths.<br /> <br /> - The remote interpreter should be able to communicate directly with the client and the cameramen.<br /> <br /> - Teams should regularly consist of a minimum of three remote interpreters&quot;.<br /> <br /> -通常，口译场所应该有良好视野。<br /> -为了避免使用多种语言，远距离口译只能在特殊情况下使用六种以上活动语言。但即使这样，房间里也应该有尽可能多的同传箱，远距离口译员的同传箱也不应该太远。<br /> -高清显示器应安装在同传箱前，而不是同传箱内。<br /> -远程翻译员应该能够直接与客户和摄像师通信。<br /> -翻译小组应定期由至少三名远程口译员组成”。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 01:42, 10 October 2020 (UTC)<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 2.1.5.2 Higher Validity through Explanation and Correction Functions<br /> <br /> In the university lecture hall, students critically accompany, verify and check for errors in the statements of the lecturer by simultaneously reading in Wikipedia, Baike Baidu, etc., and in search engines such as Google, and Baidu and, if necessary, manually validate or question the statements in accompanying chats (e.g. in the WhatsApp or WeChat group of the course). In a technically mediated interpreting situation, it is now possible to show alternative translation suggestions to participants. This is useful in reducing misunderstanding when a) politically/religiously/culturally sensitive terms appear, b) different groups of recipients may have different understanding of the same term, for instance, a socialist-authoritarian country and a liberal-democracy] state perceive political ideologies, systems and concepts through a spectrum of shades and hues. Recognition of the various nuances, the multifaceted implications and the degree of value-laden presumptions for each individual recipient serve to ease tension and foster communication.<br /> ==Jiang Fengyi 蒋凤仪==<br /> 2.1.6 Special Features in the Booth<br /> <br /> Computers or smart devices allow you to view presentations, documents and notes. However, reference by typing during the interpreting process is hardly possible due to time constraint. Therefore, text to speech and speech to text modules become more important.<br /> <br /> In exceptional situations, such as a 'blackout' or a hesitation break, the technique of stalling, i.e. inserting neutral expressions without new information together with deceleration of the target text production, could be useful strategies (Pöchhacker 2004, 132ff).<br /> ==Jiang Hao 姜好==<br /> 2.1.7 Software Examples<br /> <br /> When naming selected software, I follow the list and evaluation of Janovska (2011).<br /> <br /> To this day, interpreters continue to manage their terminology with Office programs such as Word or Excel (Fantinuoli 2011, 50). However, searching is cumbersome with Ctrl+F, and only the first entry found is displayed. Better suited are Interplex simple, LookUp (search without Enter key, which also has a separate module for Word, Janovska (2011, 80); it also has input fields such as customer, topic and project for additional information, terminology extraction, vocabulary trainer, semantics filter and sorting functions, Honegger (2006, 2) and Rütten (2014f), Terminus (a) good multilingual terminology management system and TermDB developed by conference interpreter Christian Vogeler but discontinued in 2012. But here, too, Fantinuoli (2011, 51) complains that the hit rate cannot be reduced by stop words and that the errors in the glossary cannot be corrected.<br /> 2.1.7软件范例<br /> 在命名选定的软件时，我遵循Janovska（2011）的列表和评估。<br /> 时至今日，口译员仍在使用Word或Excel等办公程序管理他们的术语（Fantinuoli 2011，50）。但是，使用Ctrl+F进行搜索很麻烦，并且只显示找到的第一个条目。更适合的是Interplex Simple，Lookup （搜索时无需回车键，且也有单独的Word模块，Janovska（2011，80）；它还具有客户、主题和项目等输入字段，以获取更多信息，术语提取、词汇训练器、语义过滤器和排序功能，Honegger（2006，2）和Rütten（2014f），Terminus（一个）良好的多语言术语管理系统和由会议口译员Christian Vogeler开发的TermDB，但在2012年停产。但是在这里，Fantinuoli（2011，51）也抱怨说，使用停用词无法降低点击率，并且词汇表中的错误也无法得到纠正。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 02:17, 9 October 2020 (UTC)<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> Gacek (2015) presents numerous programs: Interpreters' Help (Gacek 2015, 55), a new browser-based web application from 2014 for all browser-based operating systems and for Boothmate for Mac OS X. It offers the possibility of synchronization offers with fast search function. The currently available beta version and the license for students are free of charge.<br /> <br /> Gacek (2015, 56) also introduces the Glossary Assistant program, which is still in development. It presents glossaries clearly on tablets, - the focus is not on mobile phones, - and makes them editable, see also Rütten (2014g) and Martin (2014). The program is currently only available for Android tablets and is free of charge. <br /> ==Kang Haoyu 康浩宇==<br /> <br /> The Intragloss program, which Gacek (2015, 57) presents, was &quot;developed by AIIC conference interpreter Dan Kenig and software developer Daniel Pohoryles&quot;. &quot;The aim of the program is to facilitate the creation and use of even extensive multilingual glossaries&quot;. &quot;Glossaries can be created directly within a preparation document or within a website.” Gacek values this as “very useful” and gives the example “making a list of problematic terms after receiving a last-minute document”. He also points to the fact that “Appropriate filter and sorting functions alphabetical, by website, by chronological order are also provided. A glossary created from a web page is automatically updated, which is an advantage for future. Like InterpretBank software, Intragloss also offers the possibility of automatic translation of terms, with the search for translation suggestions in large translation portals (IATE, GDT, Linguee, Termium, WordReference, etc.). Other useful functions include the clear comparison of different language versions of a document&quot;. A free trial version is available for Macintosh devices, see also Kenig (2014).<br /> Gacek（2015,57）提到的Intragloss程序是由“AIIC会议口译员Dan Kenig和软件开发者Daniel Pohoryles共同开发的”。“该程序旨在促进更广泛多语言术语表的创建与使用”。“术语表可在现有文件或网站上直接创建”。Gacek认为该功能非常有用，并举例指出“在接受最新文档后，该程序便可罗列出其中的问题术语”。他还指出，“该程序还支持适当的排序功能，可以按照字母，网站和时间顺序来进行排序。网页创建的术语表还能自动更新，这在未来是一大优势”。像InterpretBank软件一样，Intragloss也为自动翻译术语创造了可能，只要在大型翻译门户网站（例如IATE, GDT, Linguee, Termium, WordReference）搜索翻译建议即可。除此之外，另一有用的功能便是明确对比文件的不同语言版本。Macintosh设备提供了免费试用版，另请参见Kenig（2014）。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:20, 9 October 2020 (UTC)<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> Gacek (2015, 61-63) tests and describes in detail the InterpretBank program in version 3 2014, which aims to &quot;provide interpreters with a sophisticated corpus-linguistic tool&quot;. &quot;InterpretBank was developed by Claudio Fantinuoli, a graduate interpreter working in the Department of Translation, Linguistics and Cultural Studies at the Johannes Gutenberg University of Mainz&quot; (Gacek 2015, 62). &quot;InterpretBank is a modular tool that provides interpreters with computer support in the field of knowledge and terminology management before, during and after a simultaneous interpreting assignment&quot; (Gacek 2015, 63). Gacek lists the three modes offered by the program: &quot;TermMode: Module for creating and managing glossaries; in addition, various functions can be used, such as automatic translation of terms and searching for definitions from the Internet. MemoryMode: Module for visual memorization of bilingual glossaries. ConferenceMode: Module for cabin-friendly reference during the interpretation.&quot; (Gacek 2015, 63). <br /> ==Kong Xianghui 孔祥慧==<br /> <br /> Rütten (2014) judges: &quot;Very user-friendly, many nice functions; organised by glossaries (which, technically speaking, are subject areas tagged to each entry), has all the essential data categories (customer, project etc.) and a very nice flashcard-like memorising function. The quick-search function ignores accents. It is limited to five languages and you cannot add endless numbers of individual data fields.<br /> Intrepretbank is platform independent, works on Windows, Mac and Android (Gacek 2015, 63), costs 69 Euro, for students 39 Euro, university teachers (and their students) get a free demo license.<br /> <br /> The interpreters also use very simple websites and programs such as the search engine Google, the Internet encyclopaedia Wikipedia, dictionary programs such as Langenscheidt and systems for teamwork such as Google Docs. Typical concordance programs are WebSleuth, WebResearch, Black Widow, Site Ripper. <br /> ==Kong Yanan 孔亚楠==<br /> <br /> Terminology extraction enables Easy Concordance, and Concordance. Text to speech can handle most operating systems (Microsoft Windows, Macintosh Operating System), there are also special programs for it like Ivona Reader (from 49 €) with the free MiniReader version, TextAloud (19.99 €). There are programs for fast reading (so-called &quot;Improved Reading&quot;) like &quot;A Faster Reader&quot; (for Android smart devices) and programs for managing documents like the app &quot;Documents&quot; (for Apple iOS), in which among other things search functions can be used and a web browser can also be opened, or OneNote. The website www.wortwarte.de is supposed to present neologisms, but it is not up to date (visited September 11, 2020 by M.W.).<br /> <br /> 术语摘录使简单词汇索引以及词汇索引成为可能。大多数操作系统都具备文语转换功能（如微软视窗、Macintosh 操作系统），还有一些特殊软件也会用到文语转换，例如带有免费微型阅读器的Ivona 阅读器（49欧元起）以及TextAloud （19.99欧元起）。像“A Faster Reader”(安卓手机系统)这样的用于快速阅读（所谓的“拔高阅读”）的软件，以及文献管理软件，例如“Documents”(苹果手机系统)，都具备搜索、网页浏览或者电子笔记功能。www.wortwarte.de是一个提供新词的网站，但它并不是一个最新的网站版本。（M.W.于9月11日访问过这个网站）--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 01:16, 9 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> The program BootCaT creates topic-specific web corpora: &quot;The users first define the search terms. Then, web pages are collected, which contain the combination of these search terms&quot;, see Gurevych (2013, 546). At the end a text corpus is created, “with which one can quickly get an overview of the content and terminology, for example, of the keywords ‘energía solar’ in Spanish or ‘solar energy’ or ‘solar power’ in German”, see Rütten (2008).<br /> 程序BootCat 创建特定主题的网络语料库：“用户要首先定义搜索词，然后收集包含这些搜索词的组合的网页“，详见Gurevych(2013,546).最后创建了一个语料库，“通过该语料库可以快速检索内容和术语，例如，关键词西班牙中的‘energía solar’或德语中的‘solar power’，详见Rütten (2008)。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 02:56, 9 October 2020 (UTC)<br /> <br /> BootCaT程序创建了一个定题网络语料库：“用户首先明确搜索词，然后语料库会收集各种网页，其中包含所有这些搜索词”，参见Gurevych(2013,546)。最后，BootCat创建了一个文本语料库，“通过该语料库，人们可以迅速概览一些内容和术语，例如，可以搜索关键词，西班牙语中的‘energía solar’或德语中的‘solar energy’ or ‘solar power’”，见Rütten(2008)。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 10:00, 9 October 2020 (UTC)<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> In addition, there are Termprofile, Endnotes, Qtrans-Search Bar. The latter is rated by Gacek (2015), 50 as &quot;no pop-up windows, faulty queries or other inconveniences&quot;. Also Scholz (2008) presents Qtrans: &quot;One of the great advantages of the tool, however, is its low threshold: the software can be used without training, is system-independent, requires no installation and is immediately ready for use.” Scholz also explains, that it is not based on its own search technology, but passes parameters to other services; “therefore it is easily adaptable and can integrate any internal and external data sources via HTTP” (Scholz 2008).<br /> 此外，还有Termprofile, Endnotes, Qtrans等搜索栏，后者在2015年被Gacek评为“没有弹窗困扰、错误查询和其他不便之处”。在2008年Scholz这样介绍Qtrans搜索栏：“不过，该工具最大的优点之一就是它的门槛低，这款软件无需培训就能使用，独立于电脑系统，不需要安装就能使用。”Scholz还解释说它不是基于自己的搜索技术,而是将参数传递给其他服务，“因此，它兼容性很强，并可以通过HTTP集成任何内部和外部数据源。”--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:49, 9 October 2020 (UTC)Lei Kuangxi<br /> <br /> ==Li Haiquan 李海泉==<br /> For preparation and simultaneous use, there is the glossary software Interplex, which is capable of handling multitasking. It can import glossaries from Word or Excel and is available for Windows, iPhone and iPad. In 2020, it costs US$ 75 and there is a free demo version available. More features for conference interpreters are offered by Term LookUp, which cost US$99 in 2019. In 2020 the author of this paper only found the free version and IntelliWebSearch (free).<br /> <br /> 在准备和同步使用用途上，有一个术语表软件-Interplex，它能同时处理多项任务。它还可以从Word 或Excle导入词汇，也适用于Windows，iPhone和iPad。2020年，它花费了75美元，获得了一个免费的试用版。Term LookUp（术语查找）为会议口译者们提供了更多的功能，在2019年这花费了99美元。2020年，网页负责人只发现了这个免费版和IntelliWebSearch（免费）。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:07, 9 October 2020 (UTC)<br /> <br /> 在预备翻译和同声翻译方面，术语软件Interplex能处理多项任务，该软件能从Word或者Excel导入术语，并且在Windows,Iphone和Ipad上都能使用。2020年，用户花费75美元才能使用该软件免费的试用版。2019年，会议口译员花费99美元就能在TermUp软件使用更多的功能。2020年，本篇文章的作者只能找到这个软件的免费版本和IntelliWebSearch软件（免费）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 02:09, 9 October 2020 (UTC)<br /> <br /> ==Li Lili 李丽丽==<br /> <br /> 2.2 Simultaneous Interpretation with Video Conference Systems<br /> <br /> The current video conferencing systems all allow simultaneous interpretation. For this purpose, every participant simply needs two devices and joins two meetings at the same time. For more languages, more meetings are offered. Common solutions are BigBlueButton (open source, free), Zoom, Skype for Business, Microsoft Teams, WebEx, Zoom, GoToMeeting and in China voom (alias WeMeet, Tencent Meeting), TencentClassroom, WeChat.<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> Every participant should mute his/her microphone (except when speaking) and can listen to the original language on the first device and use one ear plug from the 2nd device to listen to the target language. If the original language does not need to be heard, the participant can also turn off the sound of the 1st device and plug in both ear plugs from the 2nd device or listen to the sound from the loudspeakers of the 2nd device. It is not recommended to have both devices on loudspeaker at the same time to avoid acoustic feedback. Sometimes, if the web speed is too slow, turning off the camera (not the loudspeaker) may help.<br /> 每位参与者应将其麦克风静音（讲话时除外），并可在第一台设备上收听原始语言，并使用第二台设备的一个耳塞收听目标语言。如果不需要听到原始语言，参与者也可以关闭第一个设备的声音，并插入第二个设备的两个耳塞，或者从第二个设备的扬声器中收听声音。不建议两个设备同时安装在扬声器上，以避免声音反馈。有时，如果网速太慢，关掉相机（不是扬声器）可能会有帮助。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 08:22, 8 October 2020 (UTC)<br /> <br /> 每位参与者应将其麦克风静音（讲话时除外），并可在第一台设备上收听原始语言，并使用第二台设备的一个耳塞收听目标语言。如果不需要听到原始语言，参与者也可以关闭第一个设备，并插入第二个设备的两个耳塞，或者从第二个设备的扬声器中收听声音。不建议在扬声器上同时安装两个设备，以避免回声。有时，如果网速太慢，关掉相机（不是扬声器）可能会有帮助。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:17, 9 October 2020 (UTC)<br /> <br /> ==Li Liqin 李丽琴==<br /> <br /> With the business version of Zoom, you can simply choose the language channel by clicking on a flag. As the host of the meeting, one must activate the interpretation function and invite the respective interpreters.<br /> <br /> 在使用Zoom的商业版时，你只需点击代表各国的旗帜图标来选择语言频道。作为会议的主持人，你必须先激活口译功能，并邀请相应的译者进会议。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:21, 7 October 2020 (UTC)<br /> <br /> 使用Zoom商业版时，点击各国国旗图标就能选择不同的语言频道。作为会议的主持人，你先要打开口译功能，才能邀请对应的译者进入会议。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:52, 8 October 2020 (UTC)<br /> <br /> 对于商业版的Zoom，您只需单击一个标志即可选择语言频道。作为会议主持人，必须激活口译功能并邀请相应的口译译员。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 08:23, 8 October 2020 (UTC)<br /> <br /> 在使用Zoom商业版软件时，你只需点击旗帜图标就能选择语言频道。作为会议主持人，你必须具备解释功能，并邀请相应的口译员与会。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:07, 8 October 2020 (UTC)<br /> <br /> ==Li Luyi 李璐伊==<br /> <br /> So far, conference interpreters often sat in the back of the conference in their boxes and where not visible to the audience. With video conferencing systems like Zoom it is now technically possible to blend in a video of the interpreter, which enhances understanding. However, so far the video conference communication situation still feels artificial, much different from the analogue situation, with only faces, voices and shared screens. <br /> <br /> ==Li Meng 李梦==<br /> <br /> The next generation of digital communication and interpretation is the Virtual Reality Room (e.g. using the hardware Oculus Quest VR glass and the software Spatial), in which participants can upload a photo to create realistic avatars and then ‘look around’ to see the speaker and the interpreter. The participants can even ‘walk up to’ the speaker to sit in the first row or they can ‘place’ speaker and interpreter next to each other. <br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> 2.3 Artificially Intelligent Programs as Competition for Interpreters<br /> <br /> The debate about the extent to which technology can replace humans is as old as the first fantasies of artificial humans. It is still a polarizing discussion today and is conducted in a highly emotional manner. <br /> <br /> Austermühl (2004) explains: &quot;We believe that even the latest technology and up-to-date machines cannot replace the human brain when it comes to language transfer. Many times, the concepts are too complex to reduce them to the level of machine-readable language.&quot;<br /> <br /> ==Li Yu 李玉==<br /> <br /> 2.3.1 Machine Translation vs. human translation<br /> <br /> For this section 2.3.1 I am indebted to the final exam paper of my student Jia Liwen 贺丽文 from my 2019/2020 Master course on Translation Studies at Hunan Normal University, Foreign Studies College. Although I come to slightly different conclusions, the paper sums up some discussions I had with the students in class and provides literature review and a field study worth quoting extensively here.<br /> <br /> ==Lin Min 林敏==<br /> <br /> Machine translation, commonly known as MT, can be defined as “the application of computers to the translation of texts from one natural language into another” (Huchins 1986, 1). The term “machine” is outdated, since we refer to computers today or to digital/eletronic instead of analogue translation, the term “machine translation” is mainly understood in contrast to human translation and therefore has potential to sustain.<br /> <br /> 机器翻译,通常称为机译（简称MT）,可以被定义为“运用计算机的应用软件将文本从一种语言翻译成另一种”(Huchins 1986, 1)。“机器”这个词已经过时了,如今我们用计算机或数字（电子）代替模拟翻译。而“机器翻译”一词主要是指与人工翻译的相对的翻译类别,因此具有持续的潜力。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:20, 9 October 2020 (UTC)<br /> <br /> 机器翻译，通常称为机译（简称MT），定义为“运用计算机的应用软件将文本从一种语言翻译成另一种”(Huchins 1986, 1)。“机器”这个词已经过时了，因为如今我们用的是计算机或数字（电子）这个说法。与模拟翻译不同的是，“机器翻译”一词主要是指与人工翻译相对的翻译类别，因此具有持续发展的潜力。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 03:13, 10 October 2020 (UTC)Liu Yiyu<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Machine translation pioneers were the United States, the Soviet Union and European countries. The initial stage can be dated 1947-1954: In 1946, the world’s first electronic computer was born. Soon, in the second year, 1947, an American scientist Warren Weaver and a British engineer A. D. Booth firstly proposed to translate languages by modern electronic computers. It was in 1954 that Georgetown University cooperated with International Machine Cooperation (IBM) on a project, which created the world’s first machine translation system breaking the restriction of word-to-word translation. It was recognized as a breakthrough of machine translation and demonstrated to the public and the scientific community the feasibility of machine translation for the first time. <br /> <br /> ==Ling Zijin 凌子瑾==<br /> <br /> From 1954 to 1975, we may define a second stage, with climax and stagnation. Due to the success of Georgetown-IBM system and the potential social, economic and intelligence benefits, quite a few countries including the United State, Soviet Union, and Japan invested heavily in the research and development of machine translation. Then, there was an upsurge of machine translation research all over the world.<br /> 1954年到1975年，我们可以定义为第二个阶段，即高峰阶段和停滞阶段。由于乔治敦- ibm系统的成功及其潜在的社会、经济和情报效益，包括美国、苏联和日本在内的许多国家在机器翻译的研究和开发上投入了大量资金。于是，机器翻译研究在世界范围内掀起了一股热潮。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 10:09, 9 October 2020 (UTC)<br /> <br /> ==Liu Bo 刘博==<br /> <br /> In 1956, the Chinese government released its “1956-1967 Prospective Plan of Science and Technology Development”, in which “automatic translation” was listed as an important task in item 41. <br /> <br /> The poor translation caused by the rough design of the first generation machine translation system and the exaggeration of the computer capability eventually led for some people to lose confidence in machine translation. In 1964, the US Automatic Language Processing Advisory Committee (ALPAC) established by the National Academy of Sciences (NAS) carried out an investigation on machine translation including its speed, quality, costs and the demand of it and had a sound and comprehensive test, count and analysis.<br /> <br /> 1956年，中国政府发布了《1956-1967年科技发展远景规划》，其中“自动翻译”被列为第41项的一个重要任务。<br /> 由于设计还较粗糙再加上计算机能力被夸大，第一代机器翻译系统的翻译质量不足，最终导致一些人对机器翻译失去信心。1964年，由美国国家科学院（NAS）成立的美国自动语言处理咨询委员会（ALPAC）对机器翻译的速度、质量、成本和需求进行了调查，并进行了全面的测试、统计和分析。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:27, 9 October 2020 (UTC)<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> Later, in 1966, ALPAC published the results of the survey and its main conclusion was that no further research should be undertaken on machine translation considering its low speed, low accuracy, higher costs than human translation and inability to overcome semantic barriers. Affected by this report, researches on machine translation declined sharply and even led to a 10-year slump worldwide.<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> After a quiet decade of 1970s, thanks to the development of computer technology, linguistic theory and artificial intelligence research, the increasing demand for translation, and the unremitting efforts of some machine translation researchers, research on machine translation revived in the early 1980s, therefore we can define the recovery stage from 1975 to 1987. During this period, machine translation researchers no longer were blindly optimistic, instead, they paid more attention to the basic aspects of machine translation research, thus studies on machine translation systems and their development were more practical and rational, and eventually the second generation of machine translation systems emerged. <br /> <br /> ==Liu Ou 刘欧==<br /> <br /> In 1975, the European Atomic Energy Agency (EURATOM) began to install SYSTRAN. In 1976, the University of Montreal, Canada, and the Translation Bureau of the Federal Government of Canada jointly developed a practical machine translation system (TAUM-METEO), officially providing weather forecasts in May 1977. This was the only machine translation system that directly published translations without post-translation editing. It marked the practical application of machine translation in technical languages and the maturity of machine translation technology in technical languages. Many of the methods and technologies used by the second generation machine translation were relatively mature and some of them are still used these days. <br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> Since 1987 until now, we are in the prosperity stage. Many institutes and universities began their researchers in machine translation. Since 1989, the appearance of the third generation machine translation method based on corpus has changed the vision of the whole machine translation research, marking a new period for machine translation. Many famous machine translation systems were released at this period, such as the KY-1, being developed by the Chinese Academy of Military Sciences, MT-IR-EC, an English-Chinese title and catalog translation system, developed by the Research Institute of Post and Telecommunication Science, and Huajian Chinese-English machine translation system, developed by Huajian Co. Ltd. <br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Due to the rapid development of computer software and hardware technology, large-scale corpora which can be read by computer can be widely used in machine translation. The larger the corpus, the richer knowledge of human linguistics it contains, and the better the quality of machine translation will be. As long as the corpus was large enough, it was expected to cover all language phenomena. In this way, the key question here is, how to automatically or semi-automatically mine relevant translation knowledge from the corpus and effectively organize the knowledge base.<br /> <br /> 由于计算机软硬件技术的飞速发展，可以被计算机读取的大型语料库可以广泛应用于机器翻译中。 语料库越大，它包含的人类语言学知识就越丰富，机器翻译的质量也会越好。 只要语料库足够大，就可以涵盖所有语言现象。 这样的话，关键的问题就是如何自动或半自动地从语料库中挖掘相关的翻译知识并有效地组织知识库。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:13, 8 October 2020 (UTC)<br /> <br /> 随着计算机软硬件技术的飞速发展，计算机可读取的大型语料库能广泛用于机器翻译。语料库越大，它包含的人类语言学知识就丰富，进而机翻的质量也就越好。所以只要语料库足够大，机翻就能包含所有的语言现象。这样一来，关键问题就成了如何自动或半自动化地从语料库中挖掘相关语料并有效组织。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:23, 9 October 2020 (UTC)<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> The Translation Memory (TM) technology in Trados’ Translation Workbench and the latest near-human translation machine translation systems introduced by Google, Language Weaver, Meaningful Machines and other companies since the new century and the development of artifical intelligence are all the results of the successful application of corpus technology in machine translation research.<br /> <br /> 塔多思翻译平台拥有了翻译记忆技术，自二十一世纪以来，谷歌、语言编织公司、意义机器和其他企业引进了最新的类人翻译机器系统，人工智能也得到了发展，这些都要得益于语料库技术在机器翻译研究的成功应用。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 02:45, 10 October 2020 (UTC)Liu Yiyu<br /> 塔多思翻译平台拥有了翻译记忆技术，自二十一世纪以来，谷歌、语言编织公司、意义机器和其他企业引进了最新的类人翻译机器系统，人工智能的发展也得益于这些语料库技术在机器翻译研究的成功应用--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 03:55, 10 October 2020 (UTC)Mashuya<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> <br /> There are two recent Chinese books on MT, by Liu Miqing and Xu Jin. Both Liu Miqing and Xujun uphold the dogma that human translation cannot be replaced by machine translation, although they don’t reason their opinions. Liu Miqing comments on the so-called misunderstanding “If machine translation succeed, then translators will lose their jobs”: “This kind of worry is unnecessary, and human translation will be in demand at any time” (Liu 2010, 402). Xu Jun states: “On the basis of the existing linguistic level and the research level of computer artificial intelligence, it is impossible to develop a machine translation system that completely replaces human translation” (Xu et al. 2009, 339-340).<br /> <br /> 最近刘宓庆和许钧分别出版了一本关于翻译记忆的书。虽然没有确切的依据，但他们俩都支持翻译不会被机器翻译代替的观点。刘宓庆还评价“如果机翻成功，翻译工作者就会失业”这种荒唐的误解：“这种担忧是没有必要的，人工翻译在任何时候都是会有大量需求的”（刘2010，402）。许钧也说：“基于目前语言学和人工智能的研究水平，发明出一项完全替代人工翻译的机翻系统是不可能的”（许等2009，339-340）。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 12:54, 9 October 2020 (UTC)<br /> <br /> 最近刘宓庆和许钧分别出版了一本关于机器翻译的书。虽然没有确切的依据，但他们俩都支持翻译不会被机器翻译代替的观点。刘宓庆还评价“如果机翻成功，翻译工作者就会失业”这种荒唐的误解：“这种担忧是没有必要的，人工翻译在任何时候都是会有大量需求的”（刘2010，402）。许钧也说：“基于目前语言学和人工智能的研究水平，发明出一项完全替代人工翻译的机翻系统是不可能的”（许等2009，339-340）。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:35, 10 October 2020 (UTC)<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> Both of them use the same categorization of machine translation development stages as mentioned above. Both divide traditional machine translation methods into two categories: Rule-Based and Corpus-Based. The former builds the translation knowledge base on dictionaries and grammar rule bases, while the latter builds it by making full use of the corpus. Corpus-based methods can be subdivided into statistics-based machine translation and example-based machine translation.<br /> <br /> 他们都使用了上面提到的机器翻译开发阶段的相同分类方法。两者都将传统的机器翻译方法分为两类:基于规则的和基于语料库的。前者通过词典和语法规则库构建翻译知识库，而后者则通过充分利用语料库来构建翻译知识库。基于语料库的方法可以细分为基于统计的机器翻译和基于实例的机器翻译。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:24, 10 October 2020 (UTC)<br /> <br /> ==Luo Weijia 罗维嘉==<br /> <br /> Since language has the characteristics of flexibility and openness, the development of a machine translation system based on grammar rules is greatly limited due to the lack of human thinking and the lack of the ability to identify the text or become aware of it. On the contrary, example-based machine translation has enjoyed unprecedented development since the 1980s. With the revival of statistical methods and corpus methods, corpus-based machine translation systems based on statistics and examples are beginning to be used for large-scale processing of language materials and real texts.<br /> <br /> 语言具有灵活性和开放性的特点，基于语法规则的机器翻译系统的开发由于缺乏人类思维以及缺乏识别或感知文本的能力而受到很大限制。相反，自20世纪80年代以来，基于实例的机器翻译得到前所未有的发展。随着统计法和语料库的复兴，基于语料库的机器翻译系统（基于统计和实例）开始用于大规模的语言材料和真实文本的处理。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 02:56, 10 October 2020 (UTC)<br /> <br /> 语言具有灵活性和开放性的特点，所以基于语法规则的机器翻译系统的开发由于缺乏人类思维以及缺乏识别或感知文本的能力而受到很大限制。相反，自20世纪80年代以来，基于实例的机器翻译得到前所未有的发展。随着统计法和语料库的兴起，基于语料库的机器翻译系统（基于统计和实例）开始应用于大规模的语言材料和真实文本的处理。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 03:31, 10 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> Both authors think that translation memories are very useful. Because unlike machine translation, the translation memory technology cannot translate the entire text, but can offer previously translated phrases from documents stored in its database. Through comparing, retrieving and reusing previously translated texts, translators can promptly determine how to accomplish the translation in a more efficient way. That is to say, the help of a translation memory makes translating more convenient and it makes it more effective for translators to deal with some complicated source texts through translation memory administration.<br /> <br /> ==Ma Juan 马娟==<br /> <br /> 2.3.1.1 Advantages of Machine Translation<br /> <br /> 1. Among the advantages of MT are its speed and availability. If one visits a foreign country, a smart phone may make up for lack of language skills. Several free applications will help them translate texts, images, voices almost immediately, anytime and anywhere. One can take a picture of a sign and read it in one’s own language. Special apps help during conversations with foreigners. The accuracy is not high, but is also not needed in these basic conversations, which are low-end texts.<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> 2. Another major advantage of machine translation are the low costs, some services even come for free. For some large enterprises and professional translators, there is an initial financial investment to buy translation software like Trados, which pays off in the mid-run.<br /> <br /> 3. Another merit of MT is the sheer volume of translation. A small application can conduct large-scale translation work in a short amount of time, impossible for humans.<br /> <br /> 4. Also for human translators, MT is a helpful tool, professional translators and interpreters can save energy and improve their efficiency. In many disciplines, there is a huge amount of specialized vocabulary, which also changes fast. MT can make sure that all special terms are translated consistently in the same way. Most human translators prefer electronic dictionaries over paper dictionaries, e.g. because they have search functions and are updated online.<br /> 机翻的再一个主要优点是低成本，部分服务甚至是免费的。一些大型企业和专业议员会有能在中期获得回报的翻译软件的初始投资计划，比如塔多思。<br /> 机翻的另一个优点是大量高效。仅一个小小的软件便能在短时间内处理人类难以完成的大量翻译工作。<br /> 对于议员，机翻也是个有效的工具，专业笔译员与口译员都可以通过机翻降低体力消耗提高效率。很多学科领域都有着大量且变化迅速的专业词汇。机翻可以保证这些专业词汇翻译的一致性。多数议员相比于纸质字典都更喜欢使用电子字典，因为电子字典具有搜索与实时更新功能。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 03:52, 10 October 2020 (UTC)Mashuya<br /> <br /> ==Ma Zhixing 马智星==<br /> <br /> 5. MT tools also enable teams of human translators to increase their efficiency of cooperation, including joint databases and standards of translation.<br /> The trend towards MT is irreversible.<br /> <br /> 2.3.1.2 Disadvantages of Machine Translation<br /> <br /> 1. A MT can only be as good as its input, processes and self-learning algorithms. In the field of speech translation, MT depends heavily on speech recognition technology. In 2020, most speech recognition systems require speakers of the standard language (e.g. Mandarin instead of Cantonese). People’s accents, dialects and other influences like a noisy background affect the accuracy of speech recognition.<br /> <br /> 2. MT depends on connectivity and electricity. Many users become aware of this dependency when they use a translation application on their smart phone and suddenly the network connection is broken or the battery is empty.<br /> <br /> 5.机器翻译工具也可以提高人工翻译团队的合作效率，包括共享信息库 和翻译标准。机器翻译的潮流是不可阻挡的。<br /> <br /> 2.3.1.2机器翻译的弱点<br /> <br /> 1.机器翻译只能跟它的输入、程序和自我算法一致。在公开演讲翻译领域，机器翻译很大程度依赖演讲读取科技。在2020,绝大多数演讲读取系统要求演讲者是使用标准语（不用方言而是用标准语）。人们的口音、方言和其他影响因素（比如说一个嘈杂的背景环境）都将影响演讲内容读取的精度。<br /> <br /> 2.机器翻译取决于连接和电力。很多使用者在他用智能手机的翻译应用时，突然遭遇网络不好或者电池没电，才意识到这个的重要性。--[[User:Zhixing ma|Zhixing ma]] ([[User talk:Zhixing ma|talk]]) 02:37, 9 October 2020 (UTC)<br /> <br /> 1.机器翻译无法超越其输入、程序和自学习算法。在演讲翻译领域，机器翻译很大程度上以来语音识别技术。2020年，大多数语音识别系统需要演讲者使用标准用语（例如：使用普通话而非粤语）。人们的口音、方言及其他影响因素，如嘈杂的背景，会影响语音识别的准确性。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:06, 10 October 2020 (UTC)<br /> <br /> ==Meng Ying 孟莹==<br /> <br /> 3. The establishment of the corpus is the foundation of modern MT, but the corpus itself has its limitations. Modern MT, especially in many small languages, has a small corpus. For example, under the same circumstances, sometimes the accuracy of Lao translation is not as good as that of English. Also commercial reasons may play into this.<br /> <br /> 4. Almost all MT requires human post-editing. With the progress and development of science and technology, the accuracy of MT software is getting better but so far does not match human translation quality. The text after machine translation requires proofreaders to make final modifications to the translation to ensure that it is correct and has an appropriate style.<br /> <br /> ==Mo Ling 莫玲==<br /> <br /> 5. MT still has deficits to understand in which context a word is used. In many languages, the same word may have several completely unrelated meanings, such as the word “spring” in English, which most commonly means “春天” in Chinese, but also means “弹簧” , “泉水” and “活力”. Another example is the word “门槛” in Chinese, which can refer to the “threshold on the door”, but the most common meaning is “the difficulty of a thing” or “the conditions for doing something”. In these cases, the context has a great influence on the meaning of words, and the understanding of the meaning depends largely on the clues one can get from the context. So far, the main advantage of human translators is the true understanding of a sentence, which is connected to relating words with their context. Another advantage is that a human translator can creatively polish the language to obtain not just a complete and accurate translation, but an appropriate one. This is undoubtedly still a big challenge for MT.<br /> <br /> 5.对不同的语境所该用的对应的词语的理解，机器翻译仍然存在着不足。在许多语言中，同一个词可能有几种完全不搭边的含义。比如说英语中的“spring”,在中文中最常见的意思为 “春天”，但是这个词也有“弹簧” , “泉水” 和“活力”的意思。另一个例子就是中文中的“门槛”，其可以指“门上的一道坎”，但最常用的含义是指“某件事的难度”或是“做某事的一种状态”。在这些例子当中，语境对词义有很大的影响，并且对词义的理解取决于上下文给出的线索。当前，人工翻译的主要优势在于可以将词语和语境联系在一起，从而理解句子的真正含义。人工翻译的另一个优势就是可以创造性地优化语言，从而不仅可以让翻译准确完整，而且翻译得十分恰当得体。无疑，这对机器翻译来说仍然是一项巨大的挑战。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:49, 9 October 2020 (UTC)Mo Ling<br /> <br /> 5.对同一词语在不同语境中的理解，机器翻译仍有其不足。在许多语言中，同一个词可能有几种完全不搭边的含义，比如说英语中的“spring”,在中文中最常见的意思为 “春天”，但是这个词也有“弹簧” , “泉水” 和“活力”的意思。另一个例子就是中文的“门槛”一词，但最常用的含义是指“某件事的难度”或是“做某事所需的条件”。在这些例子当中，语境对词义有很大的影响，一个人对词义的理解很大程度上取决于上下文给出的线索。当前，人工翻译的主要优势在于可以将词语和语境联系在一起，从而理解句子的真正含义。人工翻译的另一个优势就是可以创造性地优化语言，从而不仅可以让翻译准确完整，而且恰当得体。无疑，这对机器翻译来说仍然是一项巨大的挑战。--Ouyang Ling<br /> <br /> ==Mo Nan 莫南==<br /> <br /> 6. MT so far does not possess cultural sensitivity. Human translators constantly study the relevant cultures, expand their knowledge and are able to understand specific situations. Human interactions and emotions are complex and machines lack initiative and the ability to understand or recognize slang, jargon, puns and idioms, so that the resulting MT may not conform to the values and norms of the culture of the source language and/or of the target language.<br /> <br /> <br /> ==Nguyen, Thuy Hien (Helen) 阮翠贤==<br /> 2.3.1.3 Comparison of Machine Translation with Human Translation<br /> <br /> Machine Translation can be compared with human translation in different areas and under different aspects.<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> 1. In the film and television industry, there is a large demand for translation of quotes (subtitling), and the difficulty lies in the individuality of each speaker which should correspond to a characteristic style depending on the speaker. The screen format requires short and pithy translations. What’s more, in the current movies and TV plays, there are a large number of terms fashionable in the internet. The film title itself has to take all possible connotations as well as marketing aspects into account, so a human translator will think it over and over again.<br /> <br /> ==Ou Rong 欧蓉==<br /> <br /> 2. In the political and the diplomatic field as well as in international negotiations between countries or institutions: In these fields, human interpretation and translation is still widely used, since translation mistakes may have severe consequences for the relation of countries. When country leaders meet, the cultural accumulation of the translators can enable them to identify which content may not offend both sides and then pick the best translation.<br /> <br /> 在政治和外交领域以及国家或机关之间进行国际谈判中，人类的翻译解读仍被广泛使用，因为翻译错误会对国家之间的关系造成严重影响。国家领导人见面时，译者的文化积累能让他们确定哪些内容可能不会冒犯双方，然后选择最佳翻译。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:14, 8 October 2020 (UTC)Ou Rong<br /> <br /> 在政治外交领域及不同国家机构之间的国际谈判中，我们仍广泛使用人工口译和笔译，因为翻译错误可能会对外交关系造成严重后果。不同国家的领导人会面时，译者凭借其文化积累来甄别何种内容并不会冒犯双方，并以此选出最恰当的翻译。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:52, 8 October 2020 (UTC)<br /> <br /> 在政治外交领域以及国家或机构之间的国际谈判中,人工翻译仍然被广泛使用，因为翻译错误可能会对国家关系造成严重的后果。在国家领导人会面时，译者的文化积淀可以帮助他们辨别哪些内容不会冒犯双方，从而选择最好的翻译。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 12:11, 9 October 2020 (UTC)<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> When a country leader tells a joke which is not funny in the target culture, the human translator may improvise with telling a different joke, ensuring that the visitor will laught too and the whole atmosphere stays relaxed as intended. With MT, diplomatic accidents or cultural conflicts might happen. In the first half of 2018, AI simultaneous translation was applied for the first time at the Boao Asia Forum. However, the system broke down, resulting in low-level mistakes such as inaccurate vocabulary translation and repetition. Mistakes like these are avoided by professional (human) interpreters.<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 3. Legal and technical communication. Legal translation, as well as medical, pharmaceutical, chemical etc. must be accurate, because a translation mistake may have severe consequences. The human translator spends additional time to make repeated efforts to avoid ambiguity and to improve the accuracy of the words used. Many specific terms in professional sectors have a broader or a different meaning in the standard language. For example, prejudice refers to damage, counterpart refers to a copy with the same effect, more complicated, for example, dominion refers to full ownership in civil law and sovereignty in public international law; Estoppels means that one cannot go back on the word in contract law, while in criminal procedure law, it means “forbidden to reverse confession”. Secondly, a large number of legal terms, such as “defendant”, “cause of action” and “damages”, usually do not appear in the common language. These characteristics of legal terms require people to carefully weigh and compare when translating, and give appropriate translations in specific situations.<br /> <br /> 3.法律及技术性表达。法律、医疗、药物和化学等领域的翻译必须准确无误，因为一个错误可能会带来严重的后果。人工翻译可以利用额外的时间，不断地努力，以避免歧义、提升用词准确性，专业领域中的许多特定术语在标准用语中具有更广泛或者不同的含义。例如，prejudice指损害，counterpart指具有相同作用的复制品，更复杂的例子还有dominion在民法中指完全所有权，在国际公法中指主权；Estoppels在合同法里意思是某一方不能违背承诺，但在刑事诉讼法中是“禁止翻供”的意思。其次，大量法律术语，例如“被告”、“诉讼事由”和“损害赔偿金”，通常不会出现在日常用语中。针对法律术语的此类特性，人们需要在翻译时仔细衡量和比较，以在特定情况下给出恰当的翻译。--Ouyang Ling<br /> <br /> ==Peng Dan 彭丹==<br /> <br /> 4. Literary translation. MT in general cannot compete with human translation in the field of literature, since these kinds of translations are more complex. A typical characteristic of Western literature is to avoid repetitions. If, for example, the source is a Chinese work of literature, repetitions are more common. MT would translate these repetitions repetitively, while humans would be creative to find synonyms and variations. A good translation of literature should enable target readers to understand the world created by the source culture author and properly realize his beliefs, ideas or other things the author wants to convey through his work. Also, subtle references to other works of literature are harder to grasp by MT than by a human translator. There are often a lot of images (comparisons, illustrative expressions, motifs, metaphors, allegories) in literary works, and images have vague characteristics. When translating and dealing with these images, even experienced translators carefully consider and repeatedly weigh them. Literary works express the rich emotions of humans, it may be happy or sad, and half sad and half happy. In order to understand the subtlety of this, the translator needs to read the text carefully and weighs it over and over again. Only after careful reading and repeated deliberation the translator can really understand them and thus produce a good translation. Literary works are often historic. <br /> <br /> ==Peng Juan 彭娟==<br /> <br /> In different periods, literary works created by different writers have their own imprint of their times. When people look at past literature, they cannot only translate it from the contemporary viewpoint. Therefore, when reading the original text, the translator should figure out the author’s writing intention and the emotion to be conveyed according to the background of the times, the writer’s experience, the writer’s style, etc. in order to better understand the original text and in order to better carry out the translation. Obviously, MT systems are not yet able to deal with these complicated processes. Last but not least, literary works are often fictional, and the fictional world is often beyond the imagination of the real world. Even if the machine can input all the literary works and their corresponding translations in different languages into it to build a huge corpus, literary works stay always full of infinite creativity and imagination. The current MT systems may be able to give a proper translation of some sentences of literary works, but from the perspective of development, the premise of machine translation is to establish a corpus first, thus it is always lagging behind and can never keep up with the pace of literary creation and innovation.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 2.3.1.3 Field Study<br /> <br /> In November 2019, we conducted a simple field study. We selected an original text (https://b23.tv/av9604542) among the quotes of the American movie The Pursuit of Happiness 《当幸福来敲门》: “People can’t do something themselves, they wanna tell you you can’t do it. If you want something, go get it. Period.”<br /> <br /> Here are five MT versions from Sogou, Baidu, Netease Youdao, DeepL and Google respectively:<br /> <br /> Sogou translation (http://bit.ly/trans_ex_1): 人们自己做不到，他们想告诉你你做不到。如果你想要什么，去拿吧。句号。<br /> <br /> Baidu translation (http://bit.ly/trans_ex_2): 人们自己做不到，他们想告诉你你做不到。如果你想要什么，就去拿。周期。<br /> <br /> Youdao translation (http://bit.ly/trans_ex_3): 当人们做不到一些事情的时候，他们就会对你说你也同样不能。如果你想要什么，就去争取。时期。<br /> <br /> Google translation (http://bit.ly/trans_ex_4): 人们自己无法做某事，他们想告诉您您做不到。 如果您想要一些东西，那就去买。 期。<br /> <br /> DeepL translation (http://bit.ly/trans_ex_5): 人们自己做不到的事情，他们就会告诉你，你做不到。如果你想要的东西，去得到它。句号。<br /> <br /> The human translation (https://b23.tv/av9604542) is:<br /> <br /> 有些事人们自己办不到，他们就刚跟你说你也办不到。如果你想获得什么，就去争取。就这么简单。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> <br /> The original text is relatively colloquial, so the overall difficulty for translation is not so high, but still the five versions of machine translation are not ideal, only the versions translated by Netease Youdao and DeepL are acceptable, but also unsatisfactory in comparison to the human translation.<br /> <br /> 原文本是相对口语化的，因此翻译的总体难度不是很大。但是机器翻译的五个版本仍然不甚理想，只有网易有道和DeepL翻译的版本尚可接受。然而较之于人工翻译，它们还是无法令人满意。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 14:46, 8 October 2020 (UTC)<br /> <br /> 原文是比较口语化的，因此翻译的总体难度不是很高，但是机器翻译的五个版本仍然不太理想，只有网易有道和DeepL翻译的版本是可以接受的。但是与人工翻译相比，还是不太能令人满意的。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:18, 8 October 2020 (UTC)<br /> <br /> 原文本来偏口语化，因此翻译难度总体不大。尽管如此，机器翻译的五个版本仍然不太理想，只有网易有道和DeepL的翻译差强人意，但却仍无法和人工翻译相提并论。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 02:43, 9 October 2020 (UTC)<br /> <br /> 原文相对口语化，所以整体翻译难度没有那么高，但机器翻译的五个版本仍然不理想，只有网易有道和DeepL翻译的版本可以接受，但与人工翻译相比也仍不尽如人意。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:45, 9 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> In the first sentence of Sogou and Baidu translation, the word “something” is ignored and the overall coherence of the translation is not high. It is also not consistent with Chinese habits. In the first sentence of the Netease Youdao translation, “当……的时候” is added, which is feasible, but compared with human translation, it is not concise enough. The DeepL translation starts strong, but does not persuade with the arbitrary addition of “的”, which destroys the grammar. The Google translation “无法做某事” reads awkward in Chinese, the reader rather would expect something like “办不到的事情”, also the auxiliary verb “想” is not appropriate.<br /> <br /> ==Peng Yuzhi 彭育志==<br /> <br /> For the translation of the second sentence, the handling of “go and get it” in Sogou and Baidu, obviously does not conform to the context in the movie, while DeepL at least uses “得到”. Although in Chinese, “take it” has the meaning of “拿” or “去拿”, in this movie, in combination with the context at that time, “take it” should be translated as “追逐”.<br /> <br /> 在翻译第二句时，搜狗和百度对 &quot;go and get it&quot; 的翻译显然没有遵照电影的情境；而DeepL起码翻译成了 “得到”。虽然在汉语中 &quot;take it&quot; 有“拿”或“去拿”的意思，但在这部电影中，结合当时的情境来看，&quot;take it&quot; 应该翻译成“追逐”。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:37, 8 October 2020 (UTC)<br /> <br /> <br /> 在翻译第二个句子时，搜狗和百度对 &quot;go and get it&quot;的翻译显然没有考虑电影中的背景，而DeepL起码将其翻译成了 “得到”。尽管在汉语中， &quot;take it&quot; 含有“拿”或“去拿”之意，但若结合这部电影当时的背景，应该将 &quot;take it&quot; 译为“追逐”。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 15:09, 8 October 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> In addition, it is worthwhile to point out that the translation of “take it” in Netease Youdao is the same as the human translation. However its translation of “wanna something” as “想要什么” is not as good as the human translation of “获得什么”. Google’s translation of “get” as “买” seems to point to a corpus with commercial texts. <br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> With using the polite addressing “您” and the non-understandable ending with “期。”, in comparison to its competitors, Google has failed this test by far. Finally, for the last sentence, the word “period” is directly and roughly translated into “期”, “周期” and “时期” by three machine translation systems. <br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> Although the word “period” by DeepL and Sogou comes very close to the meaning, the human translation makes it better understandable with “就这么简单”. Here, the machine translations fail to take the context into consideration. <br /> <br /> ==Seydou, Sagara==<br /> <br /> None of the above mentioned MT-produced versions can provide an expressive and smooth translation, let alone equal or surpass the human work. The MT versions do not conform to the Chinese speaking habits. There is still a long way to go for MT, especially for Sogou, Baidu and Google, to improve their translation quality.<br /> 上面提到的MT制作版本都无法提供表达流畅的翻译，更不用说等于或超过人工。 MT版本不符合华语习惯。 MT，特别是搜狗，百度和Google，要提高翻译质量，还有很长的路要走。--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 02:25, 10 October 2020 (UTC)<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> However, when MT will succeed, is not a question of faith, it is simply a cost-benefit question that will be economically decided. Nowadays, the cameras of smartphones can be used to watch an object or a text, which is then subtitled in a given target language by augmented reality (e.g. iTranslate, Translate, Speak &amp; Translate, DeepL, Google Translator etc. for Iphone). <br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> The WeChat app, for example, also imitates the layout and font, making it increasingly difficult to visually determine that it is a translation and not the original. Even the mundane automatic translation work (machine translation), which used to be reserved for expensive specialist programs, is now accessible to a wide range of users via websites such as translate.google.com, deepl.com or fanyi.baidu.com and can also be activated in browsers so that the websites are displayed in the desired language.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Translations are generally worse than those produced by trained human translators. Nevertheless, some website operators are satisfied with the quality, so they have their websites automatically translated and thus attract more users. There are also hybrid solutions such as automatically translated websites with the possibility that trained and untrained users can suggest translation corrections, which can then be implemented partially automatically with quality assurance elements (translation evaluation, frequency of correction suggestions, etc.).<br /> <br /> 这种翻译的质量总体来说比那些来自专业人工译者的翻译要差。尽管如此，一些网页的运营者还是对这种质量颇为满意，他们于是对网页进行自动翻译以吸引更多用户。他们也想到了多种解决方案，比如：自动翻译的网页允许专业和非专业用户提出翻译改正建议，这能够让翻译自动进行，且还有一定准确性保障。（翻译评估，一定频率的翻译校准建议之类）--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:14, 8 October 2020 (UTC)<br /> <br /> 这种翻译的质量总体上比训练有素的译者所作的译文质量要查。然而，一些网页运营者对这种翻译质量很满意，于是他们用自动翻译来翻译网站，从而吸引更多的用户。还有一些混合的解决方法，比如：自动翻译的网站，训练过和没有训练过的译者都可以为修改翻译提出建议，这种做法既能够使部分翻译自动进行，也具有一定准确性保障。（翻译评估，更正建议的频率等）--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:38, 8 October 2020 (UTC)<br /> <br /> 总体上来说，这种翻译的质量比训练有素的译者所作的译文质量要差。然而，某些网页运营者对这种翻译质量颇为满意，便用自动翻译来翻译各自的网页，从而来吸引更多的用户。还有一些混合式解决方法，比如：自动翻译的网站，经过训练和未经训练过的译者都可以为翻译修改提出建议，这种做法既能够使部分翻译自动进行，也能保障一定准确度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 02:49, 9 October 2020 (UTC)<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> For clients who expect higher quality, machine pre-translation and subsequent error correction currently occasionally appears to be more cost-effective than fully human translation. Overall, Google Translator has made great progress in recent years. Fanyi Baidu recently showed off with a simultaneous interpretation of a speech recorded live on video.<br /> <br /> 对于期待更高翻译质量的客户来说，目前机器预翻译和后续的改错有时候比纯人工翻译更经济实惠。总的来看，近些年谷歌翻译取得了很多进步。百度翻译近来也在卖弄其现场录制的演讲视频的同声传译能力。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:45, 9 October 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Human translators also do not just use their brains, they use translation memories such as Trados, Across, Transit, MemoQ, WordFast, Pasolo etc., in order to have the same terms or sentences displayed in the same way, for example in technical manuals, which deal with the 1:1 translation of technical terms. Here both sides seem to come closer to each other.<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Currently, no program can translate better than humans. There are simply too many factors to be taken into account in order to avoid e.g. unexpected comedy because a certain expression does not seem appropriate in a certain situation. Of course, the human translator is not immune to such 'translation mistakes', but he or she often recognizes them and can correct them afterwards if necessary. Here, the human consciousness cannot yet be achieved or simulated by machines.<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Automatic simultaneous interpreting appears even more difficult than automatic translation, as the transmission process is carried out in real time. In addition, the machines still lack the various means of expression accompanying the pure translation text. This does not only refer to non-verbal interpreting - there are also conference interpreters who often only listen to the translation via headphones. <br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> But also the possible variations in vocal reproduction, such as volume, speed, variation in intonation, intonation of the sentence melody, etc., often offers the possibility to enrich the information of the pure text. Nonetheless, these are precisely the fields that are currently being researched and that increase the acceptance and subtlety in the expression of artificial intelligence.<br /> <br /> 但是，音量，速度，语调变化，句子旋律的语调等声音再现的可能变化，也常常提供丰富纯文本信息的可能性。尽管如此，这些恰恰是当前正在研究的领域，提高了人工智能表达的接受度，增加了微妙性。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:27, 8 October 2020 (UTC)<br /> 而声音再现中可能出现的变化，如音量、语速、语调、句子旋律的抑扬顿挫的变化等，往往提供了丰富纯文本信息的可能性。尽管如此，这些恰恰是目前正在研究的领域，用来提高人工智能表达的接受度和微妙性。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 15:37, 8 October 2020 (UTC)<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> The fact that the targeted concentration on translation errors and their causes promises success in further development is demonstrated by the leap in quality of translation services when comparing early and current Google and DeepL Translator versions.<br /> <br /> 通过比较早期及现在的谷歌翻译与Deepl翻译器的版本，人们发现翻译服务质量的巨大提高证明了有针对性地集中研究翻译错误及其原因能确保翻译发展的进一步成功。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 01:55, 9 October 2020 (UTC)<br /> <br /> 对比早期和现在的谷歌及DeepL翻译，我们可发现翻译质量大幅提升，这证明有针对性地关注翻译错误及原因有助于翻译的进一步发展。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 13:12, 9 October 2020 (UTC)<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> 2.4 Transition of Interpreting Situations through Technology/Digitization<br /> <br /> The interpreter must increasingly adapt to technically predefined interpreting situations, such as video conferences with augmented reality, tele-interpreting, etc. It is expected that the interpreter is familiar with the various hardware and software models of interpreting technology and organizes this technology.<br /> <br /> 2.4 技术化/数字化口译的转变<br /> 口译员必须逐渐适应技术上预定义的口译情况，例如增强现实的视频会议、远程口译等，并且应当熟悉并学会组织口译技术的各种硬件和软件模型。<br /> <br /> --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:56, 8 October 2020 (UTC)Tang Ming<br /> <br /> 2.4 口译形势在技术化或数字化下的转变<br /> 译者必须要逐步适应在技术上预定义的翻译情况，比如增强现实的视频会议、远程口译等，也应该熟悉并学会组织口译技术的各种硬件和软件模型。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:48, 8 October 2020 (UTC)Ou Rong<br /> <br /> 2.4 技术化/数字化口译的转变<br /> 口译员必须在技术上对预定义的口译情况愈发适应，比如说，增强现实的视频会议、远程口译等，还需熟悉并学会组织口译技术的各种硬件和软件模型。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 15:11, 9 October 2020 (UTC)<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> According to the early Braun 1999 study on interpreting in video conferences, the interpreter's job description is already changing towards becoming a technology organizer. Due to the rapid progress in technology, the technical problems, quality losses and malfunctions, on which the study focuses, are outdated. Rather, today's technology must be assumed to be largely trouble-free to perfect for the purpose of interpreting, often even offering functions that the users do not (or can not) exploit at all.<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> The following disadvantages of early video conferencing at the time of the study have since been reduced: <br /> <br /> a) Social presence - through the new techniques with VR glasses (like Facebook’s Oculus Quest) and, if necessary, whole-body tactile suits, the presence is sufficiently simulated so that the human mind is able to fade out the technical mediation of the presence after a period of getting used to it. The &quot;technically caused restrictions of interaction&quot; thus become negligible.<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> The &quot;restricted field of vision&quot; of the interpreter complained about in the study can now be extended by virtual or augmented reality glasses. It should also be pointed out that even with conference interpreters, e.g. incorrect planning of interpreting booth locations where there is no clear field of vision for the speaker or PowerPoint or simply unforeseeable events such as overcrowded conference rooms so that standing listeners block the view are part of everyday life.<br /> 口译员对在口译室中“视野受限”表示埋怨态度，现在他们可通过虚拟现实或增强现实眼镜扩展视野。还应指出的是，即使是会议口译员，口译室摆放位置规划不准确也都是口译员日常生活的一部分,这会致使口译员看不清说话者、幻灯片或者难以预测的情况，比如说，会议室过于拥挤，使得站着的听众挡住了视线。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 15:05, 9 October 2020 (UTC)<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> b) The same applies to the unnaturalness of the discussion situation that was noted at the time. Since the perception of technology fades into the background, the technically mediated interpreting situation is increasingly been accepted as just as natural or unnatural as the analogue/presence.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> 3. The Impact of Migration: Community Interpreting and Rare Languages <br /> Through migration, foreign-language people come into a community and are dependent on interpreting services in government offices and hospitals due to a lack of knowledge of the local language. While offices often leave the task of finding an interpreter to the foreign language speaker, they do not set any qualification or quality requirements. <br /> <br /> ==Wang Yuan 王源==<br /> <br /> As a result, relatives or acquaintances are often hired as one-time lay interpreters whom the foreign language speaker entrusts with the interpretation. However, the quality is often lower than that of trained interpreters. Trained interpreters would often be simply too expensive for the foreign language speaker in such situations (Moratto, 2020). <br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> In the case of community interpreting in hospital, the patient is usually not responsible for providing an interpreter, e.g. because he or she arrived at the hospital unexpectedly or is restricted in mobility due to illness/injury or hospitalization and should not be burdened additionally. Accordingly, the hospital maintains a pool of community interpreters. As field studies, e.g. by Andres (2009), show, non-professional interpreters are also hired where necessary out of cost reasons.<br /> <br /> 关于医院的社区口译，病人一般不用自己提供口译人员，因为他们并不是有预测地来到医院，或者说由于病情、伤情或者住院导致行动能力受限，因此不应该再额外徒添负担。基于此，医院一般都有一群社区口译人员。基于安德烈斯的实地考察可看出，必要时也有为了降低成本雇用非专业口译人员的时候。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 13:31, 9 October 2020 (UTC)<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> 4. Existential Problems for the Interpreting Profession<br /> Due to networking via the Internet, unqualified interpreters are pouring into the market from low-wage countries, bringing the profession of the professional interpreter into disrepute as a result of dumping prices and poor-quality work, especially for inexperienced clients. <br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> From my own field I know well-trained German and Chinese interpreters who interpret in their respective areas of competence for about 850 USD (750 Euros or 3,120 Yuan RMB) plus expenses for half a day or 1,700 USD (1,500 Euro or 11,700 Yuan RMB) for a whole day. But I have also taken part in conferences where an apparently not well-trained Chinese interpreter interpreted. <br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> As a rule, the clients were inexperienced and had apparently based their decision on price in particular, and hired interpreters for 450 USD (400 Euros or 3,120 Yuan RMB) half-day or 850 USD (750 Euros or 5,890 Yuan RMB) per day.<br /> 通常，客户由于经验不足，显然只能根据价格来聘用口译员，聘用的价格大概是半天450美元（相当于400欧元或3120元人民币），全天850美元（相当于750欧元或5890元人民币）。<br /> --[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:14, 9 October 2020 (UTC)<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> As a result, long passages were regularly left uninterpreted, there were pauses lasting seconds or entire speeches remained uninterpreted sometimes due to a lack of agreement between the interpreters, other times perhaps due to technical problems?.<br /> <br /> 结果，导致很长的一段话经常不予解释，有时会持续停顿几秒钟，或者整个演讲句子都无法翻译，有时是因为口译员之间没有形成共识，有时可能是由于技术方面的问题……--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 05:54, 10 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> I especially remember a consecutive interpreter who 'interpreted' the various welcoming speeches at a German-Chinese friendship celebration in sections by repeating the same sentence in Chinese: &quot;We are delighted to have such a good partnership which serves international understanding.”<br /> <br /> 我尤其清楚地记得一位口译员在中德友谊庆典上，将各种欢迎词都译为同一句话：“我们很高兴能发展一段有助于国际间理解的友好伙伴关系。”--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 03:39, 8 October 2020 (UTC)<br /> <br /> 我尤其清楚地记得一位交替传译口译员在中德友谊庆典上，将各种欢迎词都译为同一句话：“我们很高兴能发展一段有助于增进国际间理解的友好伙伴关系。”--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 8 October 2020 (UTC)<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> For someone who was not familiar with the subject or did not speak both languages, the event made a perfect, all-round impression, the interpreting was apparently seamless, the audience clapped and laughed in the right places, solely because of the speaker's example and the interpreter's non-verbal signals. The German client was unable to judge the quality of the 'interpretation' due to a lack of language skills.<br /> <br /> 对于不熟悉该主题或不会讲两种语言的人，这次活动给人留下了完美且完备的印象，口译显然是无间断的，听众在正确的地方鼓掌大笑，这完全是因为演讲者所说的例子和口译员的非语言信号。 由于缺乏语言技能，德国客户无法判断“口译”的质量。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:09, 8 October 2020 (UTC)<br /> <br /> <br /> 对于不熟悉该主题或不会讲两种语言的人来说，这次活动给他们留下了完美且完备的印象，口译显然是无间断的，听众能适时鼓掌大笑，完全是因为演讲者所说的例子和口译员的非语言信号。 由于缺乏语言技能，德国客户无法判断“口译”的质量。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:08, 9 October 2020 (UTC)<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> It is not known whether the approximately 150 Chinese participants at the event thought that the German speakers always said the same thing, or whether they realised that the interpreter only interpreted the atmosphere but not the specific content of the speeches. Perhaps the interpreter was also competent, but out of political or other consideration avoided any concretization of the idea of international understanding by giving examples? <br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> The listeners may also not have been aware that one of the speakers was the Lord Mayor, because his introduction and title of office by a moderator was also interpreted with: “We are delighted that we have such a good partnership that serves international understanding.”<br /> Experienced clients, on the other hand, are familiar with the quality assurance elements of the industry, such as membership in professional associations, recommendations, etc., and do not question the established fee rates.<br /> <br /> 听众们可能也没有注意到其中一位演讲者是市长，因为主持人也把他的自我介绍和头衔解释成:“我们很高兴能有如此良好的合作关系，这有助于国际间相互谅解。”另一方面，有经验的客户对行业的质量保证要素很熟悉，如专业协会的会员资格、推荐信等，并且不会对既定的收费标准提出质疑。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:29, 8 October 2020 (UTC)<br /> <br /> 听众可能还没注意到其中一位演讲者是市长，因为主持人在介绍他的时候，把他的头衔解释为：“我们很高兴能有如此良好的合作关系，这有助于国际之间的相互理解。”<br /> 另一方面，有经验的客户熟悉行业的质量保证要素，例如专业协会的会员资格、推荐信等，不会对既定的收费标准提出质疑。”--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:13, 9 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> 4.1 Declining Payment Practice <br /> The 21st century witnesses the decline in payment morale, with interpreting services receiving delayed remuneration or subject to default in payment. While catering companies of the same event usually get their bills paid, interpreting services, especially for inexperienced clients, appear to be a service that cannot be concretely grasped, measured and seen. All this leads to a devaluation of the performance of the interpreter, his profession and even to a questioning of the role of an interpreter or translator in the modern age.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Should there really be a free artificially intelligent &quot;conference interpreting version&quot; of Google Translator one day, these clients will probably feel vindicated in their contempt for human interpretation.<br /> <br /> 5. Networking Takes Interpreting and Translation to a New Level of Quality<br /> In the case of machine-assisted translation, for example with terminology database systems such as Trados, there are several windows/screen areas and it can be displayed how you yourself have interpreted/translated a sentence or expression in the past or how other translators have done so.<br /> <br /> 如果有一天谷歌翻译真的出现了免费的人工智能“会议口译版”，那么那些客户就会理所当然的看不起人类的口译工作。<br /> <br /> 5.网络将口译和笔译提升到新的水平<br /> 在机器辅助翻译的情况下，例如使用Trados等的术语数据库系统，它会有好几个窗口/屏幕区域，显示你自己以前是如何翻译一个句子或一种表达的，或者其它翻译人员是如何做的。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 01:02, 9 October 2020 (UTC)Xiao Shuangling<br /> <br /> 如果哪天谷歌翻译真的出了免费的人工智能“会议口译版”，那么那些客户可能就会报复性的贬低人工口译了。<br /> <br /> 5.网络将口笔译的翻译质量提升到了一个新水平。<br /> 在机器辅助翻译的情况下，例如，在使用Trados等术语数据系统时，它会出现好几个窗口/屏幕区域，显示你自己以前是如何翻译某个句子或某种表达的，或其它翻译人员是如何翻译的。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:30, 10 October 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> The consistent further development of such workstations for interpreters would show in real time how colleagues interpret/translate or have interpreted/translated things. This is conceivable, for example, in the case of important speeches broadcasted live, which are interpreted simultaneously by different interpreters (and possibly AI) for different clients. Thus, as in the case of simultaneous chat commentaries to a live stream, the work of different interpreters on a speech could be observed simultaneously.<br /> <br /> 口译员工作站不断的发展，最终将能实时显示同事们是如何翻译或以前是如何翻译的。 这是可以想象的，例如，在重要演讲直播的情况下，由不同的口译员（可能是人工智能）为不同的客户同时进行口译。 因此，就像直播能实时聊天评论一样，可以同时看到不同口译员对演讲的翻译。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:12, 10 October 2020 (UTC)Xiao Ting<br /> <br /> 此类口译员工作站的持续不断发展将实时显示口译员们如何进行翻译工作或者之前是如何翻译的。 例如，我们可以想象到在现场直播的重要演讲中，不同的口译员（可能还包括人工智能）为不同的客户同时进行翻译。 因此，就像直播中能实时聊天评论一样， 也能看到不同口译员同时对演讲进行翻译。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 03:14, 10 October 2020 (UTC)<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> If we take a closer look at this technical networking, parallels to an expanded, collective consciousness, which functions very much like the consciousness of an individual, come to mind. <br /> Artificial intelligence research focuses on the learning ability, self-perception and external perception of an individual in order to rebuild it with a machine. When a translator uses a Translation Memory (like Trados, DejaVu etc.), the artificial intelligence shows him/her how he/she him/herself has translated the same or a similar sentence earlier and, if the system is connected, how other translators have or are simultaneously translating the sentence.<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> The translator, who has several windows open (a dictionary, a speech-to-text module, a machine translation module, a translation memory etc.) may unconsciously use the hints by the artificial intelligence to produce his/her translation or interpretation.<br /> <br /> 翻译人员在打开多个窗口（词典、语音文本转换模块、机器翻译模块、翻译记忆库等）的情况下，可能会无意识地利用人工智能的提示来进行笔译或口译。<br /> <br /> When a huge mass of individuals (even with different languages) react with their thoughts, comments sometimes interpretations on the same sensual impression, artificial intelligence, using Big Data analysis and self-learning algorithms, becomes more than the sum of its parts, crosses the line of swarm intelligence and may be called a consciousness.<br /> <br /> 当大量的个体(甚至使用不同的语言)对他们自己的想法、评论或者解释（对于同一种感官印象）做出反应时，人工智能使用大数据分析和自学算法，变得不仅是其各个部分的总和，跨越了群体智能界限，可以被称为意识。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:55, 8 October 2020 (UTC)Xiao Yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> For example, someone is giving a speech, a global audience is watching and simultaneously commenting in their own languages. The AI can filter the most common reaction on the speech, can analyse cultural backgrounds or personality differences, can match similar comments in different languages. <br /> We have a stronger concordance of the stream of thoughts between individuals than in the purely passive reading of the texts of a foreign author between reader and foreign author.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> There are no brain cells linked between different individuals; rather the thinking during the translation work is visualized: I register how other individuals perform the same thought process and come to mostly different, but comparable, comprehensible results or even, in individual cases, to the same result. This process of constant comparison with the thinking of others is similar to the unconscious management process in the brain of the various subconscious thoughts, where the thought that is reinforced by the most similar thoughts makes it into consciousness.<br /> <br /> 不同个体之间没有大脑细胞相连。 而是将翻译工作中的想法可视化：我记录了其他人如何执行相同的思维过程，并得出了大部分不同但可比，可理解的结果，甚至在个别情况下也得出相同的结果。 这种与他人的思想不断进行比较的过程类似于各种潜意识思想的大脑中的无意识管理过程，在这种过程中，被最相似的思想所强化的思想变成了意识。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:45, 9 October 2020 (UTC)<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> When interpreting and translating, we have clearly defined thought processes that are predetermined by the source text, thus creating a manageable and thus, to a certain extent, laboratory situation. If it is possible to reach a predominant consensus here, a transfer to the thought process management of several users of the same avatar with the same controlled environment and to livestream situations with the same uncontrolled environment would be conceivable.<br /> <br /> 在进行口译和笔译时，我们已经明确定义了由源文本预先确定的思维过程，从而创造了一种易于管理的情况，或者从某种程度上说，一种各因素严格受控的情况。如果各方可能达成主要共识，那么我们相信处于同一受控环境下有相同头像的用户的思维过程转化是可以实现的，同一非受控环境下直播情况的转化也是可以实现的。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 03:41, 10 October 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> The next step, therefore, would be to extend this technically supported interpreting and translating work to align the thinking of different individuals in the same situations and to allow common thoughts to form and be visualized as text, for example when enough users write the same thing that is &quot;I am us.&quot;. Individual mistakes could thus not assert themselves in the mass, so-called swarm intelligence. Of course, there are also the necessary learning processes with setbacks and nonsense.<br /> <br /> 因此，下一步将是扩展这一技术所支持的口译和笔译工作，以协调不同人在相同情况下的想法，并允许共同想法形成并可视化为文本，例如，足够多的用户写相同的内容 “我就是我们”。 因此，个人的错误无法在大众中断言自己，即所谓的集群智能。当然，也有伴随着一些挫折和废话的必要学习过程。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 02:42, 10 October 2020 (UTC)<br /> <br /> ==Xu Jing 许静==<br /> <br /> The striving for meaning and for intelligent meaning is a sufficient driving factor for the establishment of a collective consciousness. Who does not shudder when we typed &quot;How boring&quot; during a live broadcast of the speech of the US President? These words were typed simultaneously by 13 million users and thus are selected by the artificial intelligence to be visualized as a statement of collective consciousness.<br /> <br /> 追求意义，追求智能意义，足够驱使人们建立共识。在直播美国总统演讲时，我们在屏幕上打出“太无聊了”，谁不会感到害怕？130亿网民同时打上这句话，然后人工智能将其呈现在大众面前，体现出我们的共识。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 07:49, 9 October 2020 (UTC)<br /> <br /> 追求意义，追求智能的意义，这足够驱使人们建立共识。在直播美国总统演讲时，我们在屏幕上打出“真无聊”，谁不会感到害怕？如果一千三百万网民同时打出这句话，然后人工智能将其呈现出来，这也体现出一种共识。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:28, 9 October 2020 (UTC)<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> On a much smaller scale shown below is the reaction “How exciting” stated by only 321 users, who therefore were unable to assert themselves. In this way, in a clearly defined setting with clearly defined rules of thought management, one could create collective meaning, e.g. by telling the progress of an action together in a digitally animated feature film, or, in the military use of artificially intelligent robots in war, by using swarm intelligence to develop/change a combat strategy simultaneously during the mission.<br /> <br /> 如下所示，只有321名用户表示“太激动人心了”，相对来说在数量上要小得多。这些人也因此无法主张自己的观点。这样来说，在一个有着清晰思想管理规则的明确环境下，人们就可以创造出集体意义。例如：通过一部动画电影来讲述一系列情节进展，或是，在战争中使用军用人工智能机器人，通过使用群体智能在任务的执行中同时制定/改变战争策略。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:13, 8 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> 6. Further Developing Translation and Interpreting Theories in the Present and the Near Future<br /> The history of translation and interpreting studies is as old as translation and interpreting itself, although it was established as a discipline only in the 1960s and 1970s. Translation and interpreting studies changed its paradigms already several times. In ancient times, it was prescriptive, favoring literal or free translation (or combinations like as literal as necessary, as free as possible). It later became more descriptive.<br /> <br /> 6.近来及不久的将来翻译理论的进一步发展<br /> 尽管翻译学在20世纪六七十年代才确立为一门学科，但对翻译和口译研究的历史与它们本身一样悠久。翻译学的研究范式已经发生了数次改变。在古代，它是规定性的，倾向于直译或意译(或二者结合，尽可能意译，如必要则直译)。后来，翻译研究变得更具描述性。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:07, 8 October 2020 (UTC)Xu Pengfei<br /> <br /> 6.现在和不久将来口笔译理论的进一步发展<br /> 尽管翻译学在20世纪六七十年代才确立为一门学科，但对翻译和口译研究的历史与它们本身一样悠久。口笔译研究范式已经发生了数次改变。在古代，它是规定性的，倾向于直译或意译(或二者结合，尽可能意译，如必要则直译)。后来，翻译研究变得更具描述性。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:42, 8 October 2020 (UTC)<br /> <br /> 6.笔译理论和口译理论在当下及未来的发展<br /> 笔译研究和口译研究（翻译学研究）在20世纪六七十年代被确立为一门独立学科，但该学科发展历史之悠久，不亚于口笔译自身的发展。翻译学的研究范式已经发生了数次改变，古代采取的是规定性研究，倾向于直译或意译的翻译方法(或二者结合，尽可能意译，如必要则直译)，后来则更偏向于描写性研究。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:59, 8 October 2020 (UTC)<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> Contrastive-linguistic approaches with equivalency as the main topic were followed by communicative and then functional approaches. Since the functional approaches also considered cultural backgrounds, it was called the “Cultural Turn”. With the Skopos Theory, the equivalence of the purpose of the source and target texts are stressed over the sacredness of the source, and the translator/interpreter gets back into the focus. Recent developments turned towards a sociology, a culture and the ethics of translation.<br /> <br /> 等效性，作为对比语言方式的主要内容，位于交流方式和功能方式之前。从功能方式考虑文化背景以来，其被称之为“文化转向”。在目的论的帮助下，源语言和目的语的目的平衡，相较于源语言的真实性，是更加重要的。之后，翻译家重新得到注意。最近相关的发展慢慢成为了一种社会科学，一种关于文化和到得的翻译。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 01:42, 10 October 2020 (UTC)Yang Chenting<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Algorithms have the characteristic that they do not have to understand any more, they just take a huge mass of data and come to results without knowing how. However, translation produced with these algorithms in general are of low quality. In a second step, the algorithms need to be able to learn from mistakes and adjust themselves. These translations are of better quality, but still qualitatively lower than human translations.<br /> <br /> 算法具有不再需要去理解的特征，它们只需要处理大量数据，而无需知道如何得出结果。 但是，用这些算法产生的翻译通常质量低下。 第二步，算法需要能够从错误中学习并自我调整。 这些翻译的质量较好，但仍低于人工翻译。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 9 October 2020 (UTC)<br /> <br /> 算法的特点是无需理解，它们只需处理大量的数据并得出结果，不必知其处理方法。然而，用算法得出的翻译版本基本质量比较差。第二步，算法需要能够从错误中获取经验并自我调整。这些翻译的质量有所提高，但仍然比不上人工翻译。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:17, 9 October 2020 (UTC)Mo Ling<br /> <br /> 算法具有无需深入理解的特点，仅仅只是处理大量数据，进而得出结果，却并不知其所以然。然而，借助算法产出的译文一般都是很差劲的。第二步，这些算法要能够吸取教训并自我调整。这样才能产出优质的译文，不过其质量还是比不上人工翻译。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 05:25, 9 October 2020 (UTC)<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> So before the machine can take over, it needs to understand humans better and needs to be ‘made more human’. Therefore, the understanding we gained through the different translation theories and experiences, we need to put into a complex set of rules, to enable the artificial intelligence not just to come to better results, but also to ‘understand’ why and how.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> 口笔译的新形式大多由人工智能处理完成，人工智能将大数据分析和算法应用于人工口笔译中，为特定目标文本的接受者找到最适合和最容易理解的笔译/口译。<br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，翻译的重点从译者本身转向了“恰当性”(通过对文化背景和个人性格的分析来评定是否恰当)和综合性，而综合性又将重点进一步放在了读者身上。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 15:23, 8 October 2020 (UTC)<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> 新的口译和笔译形式主要由人工智能管理，人工智能将大数据分析和算法应用于人工笔译和口译，为特定的目标文本接收者寻找最合适和最易理解的笔译/口译。<br /> <br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，研究的焦点从译员本身转移到通过分析文化背景和个性分析所确定的适当性和综合性上来，后者又进一步地将焦点转移到听众身上。<br /> --[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:16, 8 October 2020 (UTC)Xiao Yining<br /> <br /> The new forms of translating and interpreting are mostly managed by artificial intelligence, which applies big data analysis and algorithms on human translation and interpretation to find the most appropriate and most comprehensible translation/interpretation for a specific target text recipient. <br /> <br /> 口笔译的新形式表现在其大多由人工智能完成，而人工智能将大数据分析和算法应用于人工口笔译中，为特定目标文本的接受者提供最适合和最容易理解的口笔译服务。 --[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:03, 10 October 2020 (UTC)<br /> <br /> Therefore, the focus shifts from the person of the translator/interpreter to appropriateness (which is defined by analysis of cultural background and individual personalities) and comprehensiveness, the latter moving the focus further towards the audience.<br /> 因此，翻译的重点从译者本身转向了“恰当性”(通过对文化背景和个人性格的分析来评定)和综合性，而综合性又将重点进一步放在了读者身上。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:03, 10 October 2020 (UTC)<br /> <br /> ==Yang Yue 杨悦==<br /> Since the translation or interpretation may look different depending on the individual recipient, the new translation and interpretation will be individualized and therefore the focus moves not just to the audience, but to the personality of the individual recipient and his/her social and cultural environment.<br /> <br /> 由于笔译或口译可能会因为接受者的不同而有所不同，因此新型笔译和口译将会注重个性化发展，其重点不仅仅针对于受众，而是针对于接受者的性格以及他/她的社会文化环境。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:42, 8 October 2020 (UTC)<br /> <br /> 由于笔译和口译可能会因为接受者的不同而有所不同，新型笔译和口译将会注重个性化发展，因此其焦点不仅仅转移到受众身上，也将关注每个接受者的性格以及他/她的社会文化环境。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:17, 8 October 2020 (UTC)Xu Pengfei<br /> <br /> 由于笔译或口译可能会因接受者个体的不同而有所不同，所以新的笔译和口译将会是个性化的，因而翻译的焦点不仅会转移到受众身上，也会转移到接受者的个性和他/她的社会文化环境上。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:21, 8 October 2020 (UTC)<br /> <br /> ==Yang Ziling 杨子泠==<br /> 7. The New Type of Interpreting<br /> The new type of interpreting is a human-controlled, digital-technically supported hybrid form. The interpreter requires technical and digital skills and aids. Translation and interpreting can no longer take place without real-time technology, the minimum requirement is internet access. Quality-reducing factors currently include the use of lay interpreters in community situations, unqualified underpaid interpreters due to a lack of appreciation of the profession by inexperienced clients, and automatic translation programs, e.g., for various language versions of websites. However, a long-term trend toward qualitative improvement of automatic interpreting/translating through AI research can be observed, so that extrapolating past developments, even the complete replacement of the human interpreter by an AI in the future does not seem completely impossible any more.<br /> <br /> 新型口译是一种人工控制的，由数字技术支持的混合形式。口译员需要专业的数字技能的帮助。 没有实时技术，口笔译活动都无法进行，网络顺畅是最低要求。很多因素都导致翻译质量下降，其中包括，在一般交际场合请用非专业口译人员，经验不足的客户和自动翻译程序公司因缺乏专业认识低薪聘用不合格译者，例如有多种语言转换需求的网站。但是，通过人工智能研究来提高自动口笔译质量的长期趋势仍然存在，因此根据过去的发展趋势，甚至将来人工智能完全取代口译员工作也并非完全不可能。 --[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 00:25, 8 October 2020 (UTC)<br /> <br /> 新形口译呈人工控制,数字科技支撑的混合形式。口译员需拥有科技和数字技能和设备。 没有了实时科技的支撑，口笔译活动无法实现，而接通网络是最基本的要求。由于客户缺乏对该行业的了解，在交往中使用业余译员，资历不够的低价译员以及使用自动翻译程序，例如多语种网站，这些都是造成翻译质量下降的因素。不过，通过人工智能的研究，我们可以观测到自动化口译，翻译质量提高的长期趋势。所以根据过去发展的推断，在未来，即使用人工智能来完全取代人类口译员也不是完全不可能的事。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:42, 8 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yao Cheng 姚诚==<br /> Appropriateness as the Least Common Denominator of Translation and Interpreting<br /> Foreword by Martin Woesler, Hunan Normal University, China<br /> <br /> Interpreting theories and interpreting studies are as old as human languages. Interpreting practice is exercised as soon as two individuals meet, with verbal and non-verbal languages both being an individual and a shared thing. Every person has his or her personal language and therefore is used to processing input by interpreting.When the person modifies its output according to the recipient, this is also interpreting from the personal language into one which he or she believes is better to be understood by the recipient.<br /> <br /> 翻译理论和翻译研究和人类语言一样古老。两个人相遇那一刻，翻译实践就开始了，此时，口语语言和非口语语言都既是个人也是两人共享的事情。每个人都有自己的个人语言，因此所有人都要通过翻译来处理输入信息。某个人通过回馈信息修改输出语言，也是将自己的个人语言翻译成他所认为的能被接受者更容易理解的语言。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:36, 8 October 2020 (UTC)<br /> <br /> 适当性是翻译和口译的最不常见的特征<br /> 中国湖南师范大学，吴漠汀的前言<br /> 翻译理论和翻译研究和人类语言一样古老。两个人一碰面，翻译实践就开始了，此时，口头语言和非口头语言都既是个人又是两人共享的东西。每个人都有自己的个人语言，因此习惯通过口译来处理输入的信息。人通过接收的信息修改其输出，也是将自己的个人语言翻译成他或她所认为的能更好地理解的语言。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:21, 9 October 2020 (UTC)<br /> <br /> ==Yao Jia 姚佳==<br /> Similarly, a grandmother and her grandchild communicate in the (supposed) language of the grandchild, the grandmother constantly interpreting complex language into a simpler one. This concept of interpreting, also called polyphony, is still valid when it comes to different (‘national’) languages. Depending on personal language abilities, the Anglophone grandmother would also choose simple French to explain things to her francophone grandchild. And in the case of any lack of respective language abilities, she would simplify things in nonverbal communication.<br /> <br /> ==Yi Huan 易欢==<br /> The earliest evidence of interpreters dates back to 4th millennium BCE Egypt: They were held in high esteem, they were noblemen or priests. Of course translation as opposed to interpreting needs media (text and/or images etc.). In general, translation started with the introduction of the written script and the first texts around 3000 BCE in Mesopotamia, with Ancient Egyptian and the Yi language in the area of presentday China. The earliest Chinese texts date around 1500 BCE.<br /> <br /> ==Yi Zichu 义子楚==<br /> Along the trade route which later was called the Silk Road to Europe. Along this Trade Route, archetype stories were transported and transformed into the languages along the Silk Road, so that we find the archetype of the great flood both in the Gilgamesh Epos around 3000-2500 BCE in Mesopotamia, around 1850 BCE in Egypt, around 950 BCE in the Shijing, around 350 BCE in the Shanhaijing, in ancient Indian tales and in 440 BCE in the Old Testament (of the bible).<br /> <br /> ==You Yuting 游雨婷==<br /> Translators had an impact on the historical development of languages. The Roman dramatist Livius Andronicus (c. 285-204 BC) wrote a Latin version of the Odyssey (250 BCE) and a number of plays commissioned for the Roman Games of 240 BCE. His translations of Greek dramas into Latin founded the Roman drama tradition and shaped the Latin language. Already in the 2nd century BC translations from Greek to Latin were so popular that, for the first time in history, two translators (Plautus and Terence) were able to make a living from it.<br /> <br /> 译者对语言的历史发展有很大的影响。罗马剧作家Livius Andronicus(约公元前285-204年)写了拉丁文版的《奥德赛》(公元前250年)，并为公元前240年的罗马游戏创作了许多剧本。他把希腊戏剧翻译成拉丁文，开创了罗马戏剧的传统，塑造了拉丁语言。早在公元前2世纪，把希腊语翻译成拉丁语就已经非常流行，历史上第一次有两位译者(普劳图斯和特伦斯)能够以此谋生。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:40, 9 October 2020 (UTC)<br /> <br /> 翻译者们对语言的历史发展产生了影响。罗马剧作家卢修斯·李维乌斯·安得罗尼库斯（公元前285至204年）撰写了拉丁语版本的《奥赛罗》（公元前250年），并为公元前240年的罗马游戏舞台创作了大量剧本。他将希腊的戏剧翻译成了拉丁语，开创了罗马戏剧的传统，同时也塑造了拉丁语言。在公元前2世纪，将希腊语翻译成拉丁语的翻译活动就已经非常流行了，因此历史上第一次有两位翻译者(普劳图斯和特伦斯)能够以翻译作品来谋生。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:48, 9 October 2020 (UTC)<br /> <br /> ==Yu Ni 余妮==<br /> The German language, for its part, was shaped by a translator Martin Luther, who translated the Bible, commonly read in Latin at the time, into German. <br /> The prescription, to translate “word for word” was raised both in China and in Europe at a very early time: In the 5th century Dao An, Director of the Imperial Translation School, advocated strict literal translation of the Buddhist scriptures into Chinese. His prescription came from the fear to miss something from the original. It is important to mention that he did not know Sanskrit at all.<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> The Indian Buddhist monk Kumarajiva (350-410) carried out a great reform of the principles and methods for the translation of Sanskrit sutras. He advocated a free translation approach with the aim to transfer the true essence of the Sanskrit Sutras. He was the first person in the history of translation in China to suggest that translators should sign their names to the translated work.<br /> 印度佛教僧侣鸠摩罗吉瓦(350-410)对梵文佛经的翻译原则和方法进行了重大改革。他主张采用意译的方法，目的是传递梵文佛经的真正精髓。他是中国翻译史上第一个建议译者在译著上签名的人。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:15, 8 October 2020 (UTC)<br /> <br /> 印度佛教僧侣鸠摩罗吉瓦（350-410）对梵文佛经的翻译原则和方法进行了重大改革，他主要提倡意译的方法，目的是传达梵文佛经的真谛。他是中国翻译史上建议译者在译著上签名的第一人。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:35, 8 October 2020 (UTC)<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> Dao An’s prescription was partly based upon the understanding that the original texts were somehow “sacred”. A similar dogma of literal translations of religious texts was raised in Europe and even determined an ideological battle on free/literal bible translation for centuries. The translator Dolet in 1546 was burned for adding the phrase “Rien du tout. (Nothing.)” to a rhethorical passage about what existed after death.<br /> <br /> 原文某种程度上是“神圣的”。道安的译文正是部分基于这一理解而出的。在欧洲，对宗教文章进行直译时，就有一种类似于他这种观点的教条思想，这甚至可以说是几个世纪以来对《圣经》进行直译还是意译的思想之战。1546年，翻译家多莱因为在一篇描写死后有什么东西还存在的辞藻华丽的文章里面加入了“Rien du tout. (意思是“什么都没有”)”这一短语而被处以火刑。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:57, 10 October 2020 (UTC)<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> Cicero in his book De optimo genere oratum (The Best Kind of Orator) opposed word-for-word translation. For the orator, the target text had to be as forceful and convincing as the original text. Horace called translators, who translated word for word “slavish”. St. Jerome in his book De optimo genere interpretandi (The Best Kind of Interpreting) in 395 CE advocated: “Non verbum de verbo sed sensum de senso.” (Not word for word but sense for sense.)<br /> <br /> 西塞罗在其著作《论演说家》中对直译持有反对意见，对于演说家来说，目标文本必须像原文一样有强大的说服力。贺拉斯称直译者为“奴隶”。圣·哲罗姆则在公元395年完成的《最好的解释》一书中提出：“不能直译，而要意译。”--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:09, 8 October 2020 (UTC)<br /> <br /> 西塞罗在其《论演说家》一书中反对逐字逐句的翻译。对演说家来说，目标文本必须与原文一样有强大的说服力。贺拉斯称逐字逐句翻译的人为“奴隶”。圣·杰罗姆在公元395年所著的《最好的解释》一书中主张“不要逐字逐句翻译，要意译。”--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:16, 9 October 2020 (UTC)<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> However, Apuleius altered Greek dramas beyond recognition. Quintilian understood that translations shape also the target language, which he called “enrichment”. He further developed translation studies by establishing terms like metaphrasis (word-for-word translation) and paraphrasis (sentence-by-sentence translation), later further developed by Dryden (1680). Tytler (1797) advocated instead, that the translation should give a complete transcript of the ideas of the original work, with the same style, manner and ease.<br /> <br /> 然而，阿普列尤斯采用意译方法所译的希腊戏剧却令人难以理解。昆体良认为，翻译也可以对目的语进行塑造，这一观点被其称为“增润”（enrichment）。他通过建立诸如metaphrasis（逐词翻译）和paraphrasis（逐句翻译）之类的术语发展了翻译研究，随后德莱顿（1680）对此有了进一步的完善。而泰特勒（1797）则主张，译作应该完全复写出原作的思想，拥有与原作同一性质的风格和手法，并具备原作的通顺。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:31, 8 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> In Republican times, Lu Xun and Qu Qiubai were among the prominent advocates of a literal translation. Chinese translation studies has embraced the English term “translatology”, while internationally, the research is named “translation and interpreting studies”, which is also the term for the volume in hand.<br /> <br /> But the dichotomy of free/literal did not shape the whole discourse in translation studies. Other dichotomies were foreignizing/localizing and imitation/re-creation (Dong Qiusi 1946).<br /> <br /> 民国时期，鲁迅和瞿秋白是直译的主要倡导者。中国翻译研究已包含英文术语“翻译学”，但在国际上，该研究称为“翻译和口译研究”，这也是手头卷的术语。<br /> <br /> 然而，意译和直译的二分法并没有塑造翻译研究的整个论述。其它二分法包括异化或归化以及模仿或再创作（董秋斯，1946）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:49, 10 October 2020 (UTC)<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> A prominent advocate of foreignizing was Schleiermacher in the 19th century, who advocated that the source text should shine through the target text, since thoughts would shape the language. This was further elaborated by Walter Benjamin and Ortega y Gasset. The Sapir/Whorf hypothesis is the assumption that different languages lead to a different understanding of the world.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> Chinese translation studies is not at all referring to a Chinese tradition of translation studies, but to translation studies dealing (also) with Chinese as a language. However, most of the research conducted in this area holds also true for other languages and therefore for interpreting and translation studies in general. It might be questioned if a Chinese tradition of translation theories exists. Students of translation studies often choose the topic “Comparison of Chinese and Western Theories of Translation”.<br /> <br /> ==Zhang Hu 张虎==<br /> However, they get frustrated because they cannot find elaborated theories coming from China and they end up calling normative prescriptive concepts like “xin, da, ya” (faithfulness, expressiveness and elegance) by Yan Fu “translation theory”. Yan Fu’s three ideals are better called a prescriptive recommendation for practical translation strategies. Of course the ideals are questionable, for why should a postmodern poem including the stuttering line “I, I c…, I can’t breath!” be translated into an elegant line in a different language?<br /> <br /> ==Zhang Hui 张慧==<br /> Similarly, the “transfiguration theory” by Qian Zhongshu with his concept of the “sublime” may count as an important statement, that translation and interpreting cannot be analyzed and understood to the last resort and keep their air of mystery. However, recent neurological research and artificial intelligence research have been tackling this last resort already.<br /> <br /> 同样，钱钟书的“转化理论”和他的“化境”概念可以作为一个重要的说明，即翻译和口译不能够被分析和理解到最后，并保持其神秘性。然而，最近的神经学研究和人工智能研究已经在解决这一最后的手段了。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:57, 8 October 2020 (UTC)<br /> 同样，钱钟书的“转化理论”和他的“化境”概念可以算作一个重要的说明，即不能够将笔译和口译分析和理解为最后一种手段，而忽略其艺术性。然而，最近的神经学研究和人工智能研究已经在解决这一最后手段了。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:07, 8 October 2020 (UTC)<br /> <br /> <br /> 同样的是，钱钟书所提出的化境翻译理论，以“崇高”作为其概念，是一种重要的陈述，而笔译和口译不能被分析或理解成最后一种方式来保证其神秘。然而，最近的神经研究和人工智能研究已经开始处理这一最后步骤。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 01:43, 10 October 2020 (UTC)Yang Chenting<br /> <br /> ==Zhang Ling 张玲==<br /> Still, Chinese is an important language and it has some characteristics, which make research especially on Chinese in translation and interpreting studies valuable. One characteristic is that the meaning of a sentence may change totally until the very end of the sentence. Imagine just a “……的说法我反对。” (… is a statement I oppose.) at the end. Therefore, the decalage for conference interpreters interpreting from Chinese into other languages is quite long.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> Seyed Hossein Heydarian has analyzed the statistical occurrences of certain translation strategies with different pairs of languages. According to his findings, every language has a specific fingerprint of translation strategies, each fingerprint referring to specific language pairs.<br /> <br /> The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as the written language was invented, critical reflection also started and with it translation theories and translation studies.<br /> <br /> ==Zhang Qi 张琪==<br /> The first thoughts about transferring the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma with people not adhering to them being tortured or executed, especially in the religious context, when the original was declared “holy” and certain groups claimed the monopoly authority of interpreting. During translation history, the perspective changed from “prescriptive” to “descriptive”, reflecting a more neutral approach of analysis.<br /> <br /> 一开始将一种语言的含义转换为另一种相似含义的语言的想法是有规定和原则的，它有时被夸大为教条，尤其是在宗教环境中，当宣布原语言为标准或某些团体声称拥有口译权的时候。人们不会遵循这些规定而遭受酷刑或处决， 在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 09:00, 8 October 2020 (UTC)<br /> 将一种语言的含义转换为另一种语言的类似含义，对于这一最初想法，人们奉为规定性原则。在某些情况下，尤其是宗教环境中，这一“原则”甚至被夸大为教条，声称原文是神圣的东西，一些团体甚至扬言有权垄断翻译。因此，人们只要是不遵守，要么接受酷刑，要么直接处死。在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:47, 9 October 2020 (UTC)<br /> <br /> 一开始将一种语言的含义转换为另一种相似含义的语言的想法是要遵循约定俗成的规定和原则的，它有时被夸大为教条，人们便不会遵循这些规定因而遭受酷刑或处决，尤其是在宗教环境中，当宣布原语言为标准或某些团体声称拥有口译权的时候。 在翻译历史中，观点从“规定性”变为“描述性”，反映了一种更为中立的分析方法。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:47, 9 October 2020 (UTC)<br /> <br /> ==Zhang Weihong 张维虹==<br /> However, translation theory needs to be able to go beyond the description of translation to show parallels and differences between different translation processes in order to come to a generalized model which could serve to help understand the process better. Translation theories can also offer different translation methods/strategies depending on intersubjectively comprehensible criteria.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> In the Renaissance, the most extensive treatise on the topic of translation is the Interpretatio linguarum (1559) by Laurence Humphrey. It is situated in the context of a debate initiated by Joachim Périon in 1540, who analyzed Cicero’s recommendations on translation. Cicero proposed, that the purpose of a translated speech was to be persuasive, therefore the translator needed to be free in his translation and not be bound by the original and by the request of a literal translation.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> Périon shifted the focus from the dichotomy of literal/free to the people involved in translation and to the interpersonal act. Humphrey understood translation as self-expression, a very modern understanding. There is an interesting new study by Sheldon Brammall (2018) in the Review of English Studies 68 (288) documenting the debate. It includes an annotation of the Interpretatio in 1570 by Gabriel Harvey. He recognized the text as an important document of early English translation studies. The text questions the applicability of the concepts in Interpretatio.<br /> <br /> 佩里昂将关注点从文字或自由二分法转向了翻译人员和人际交往行为上。汉弗莱认为翻译是自我表达，这是一种非常当代的理解。谢尔顿·布拉姆莫尔在《英语研究评论68》（288）中做了一项新的有趣的研究，记录了这场辩论。这个研究包含了加布里埃尔·哈维在1570年对《翻译》的注释。他认为这一文本是早期英文翻译研究的重要文献。它对概念在翻译中的适用性提出了质疑。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:03, 9 October 2020 (UTC)<br /> <br /> 佩里昂将关注点从直译或意译的二分法转向了翻译人员和人际交往行为上。汉弗莱将翻译视作自我表达，这是一种非常现代化的理解。谢尔顿·布拉姆莫尔在2018年做了一项有趣的新研究，他在《英语研究评论》第68期第288页中记录了这场辩论。这个研究包含了加布里埃尔·哈维在1570年对《翻译》的注释。他认为这一文本是早期英文翻译研究的重要文献。这一文本对概念在《翻译》中的应用提出了质疑。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:59, 10 October 2020 (UTC)<br /> <br /> ==Zhang Yu 张瑜==<br /> In the 1960s, translation was simply an element of language learning. Translations of Aesop’s Fables in several languages (including in Chinese by Jesuit missionaries in China) were efforts at transmitting language learning textbooks. Only in the 1970s, did translation studies start to become aware of itself as an academic discipline, starting with a volume edited by André Lefevere. Some scholars chose the perspective of the contrastive approach.<br /> <br /> 20世纪60年代，翻译仅仅是语言学习的要素之一。《伊索寓言》多种语言的译本（包括耶稣会传教士在中国翻译的中文译本）促进了语言学习教科书的传播。仅在20世纪70年代，翻译研究开始意识到其自身作为一门学科，这一研究活动始于安德烈▪勒菲弗尔编辑的一卷书。一些学者选择从对比分析法的角度开始研究。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:22, 9 October 2020 (UTC)<br /> <br /> 在20世纪60年代，翻译只是语言学习的一个要素。为了传播语言学习教材,《伊索寓言》被翻译成多种语言(包括耶稣会传教士在中国翻译的中文)。直到20世纪70年代，翻译研究才开始意识到自己是一门学术学科，其始于安德烈·莱弗维尔(Andre Lefevere)编辑的一部著作。一些学者选择从对比分析法的角度开始研究。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 08:29, 9 October 2020 (UTC)<br /> <br /> ==Zhang Yujie 张毓婕==<br /> Eugene Nida, a bible translator, derived theory from practice while introducing linguistic theory and formal equivalency into translation studies. He defined verbatim translation, literal translation, faithful translation, semantic translation, compilation, free translation, authentic translation and communicative translation. Later, his research was further elaborated with strong linguistic approaches and theories of equivalency and was followed by methods from discourse analysis and the speech act theory (translation as a communicative act in a social cultural context).<br /> <br /> ==Zhang Yuxing 张宇星==<br /> There was a revival of the descriptive approach, which regards the target text as most important, and then the Skopos theory, which advocats functional equivalency and values the translator as most important. In the early 1990s, as a reaction to linguistic ‘scientific’ analysis, the theoretical and methodological shift in Translation Studies towards cultural studies is primarily associated with the works of Susan Bassnett, André Lefevere, and Lawrence Venuti.<br /> <br /> ==Zhao Xi 赵茜==<br /> The volume at hand is both from practitioners in the field and scholars who embed their research in the theoretical framework of the field as well as into its development. In the field of translation and interpreting studies, the claim about Asian or Western traditions is overcome. We have international scholars from both sides whose only qualification is their expertise in the field. Still the voices are diverse, since they cover a large range of topics and perspectives, symbolizing how diverse the research is today. The key word today is transdisciplinary research.<br /> <br /> 现有的这本书是由该领域的从业人员和研究理论框架及其发展的学者所编写的。在口笔译研究领域，关于亚洲或西方传统的言论已经消除。我们拥有来自亚洲和西方精通专业的国际学者。至今人们仍持有不同的声音，因为它们涵盖了广泛的主题和观点，体现着现如今研究的多样性。当今的关键词是跨学科研究。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:18, 9 October 2020 (UTC)<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> In translation history, especially when translation studies consisted mostly of prescriptions, ideals were pursued and equivalency was sought for, although a source text and a target text can never be totally equivalent. The myth of untranslatability was created by Wilhelm von Humboldt in the 19th century and further elaborated by L. Weisgerber in the 20th century, although everything is translatable.<br /> 在翻译史上，尤其是当翻译研究主要集中在翻译方法方面时，翻译就开始追求完美和对等，即使源语和目标语根本不可能完全对等。虽然一切语言都是可译的，但是19世纪威廉·冯·洪堡创造了不可译性这个谬误，20世纪里奥·韦斯伯格又对这一观念进行了进一步阐释。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 14:57, 8 October 2020 (UTC)<br /> <br /> 在翻译史上，尤其是当翻译研究主要集中在翻译方法方面时，翻译就开始追求完美和对等，即使源文本和目标文本根本不可能完全对等。虽然一切语言都是可译的，但是19世纪威廉·冯·洪堡创造了不可译性这个谬误，20世纪里奥·韦斯伯格又对这一观念进行了进一步的阐释。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:06, 8 October 2020 (UTC)<br /> <br /> ==Zheng Huajun 郑华君==<br /> It is more a question of appropriateness and acceptance of a translation. Evaluation criteria for the quality assessment of translations have been developed, although it can never objectively be judged, how far the translation result (also called “translat”) corresponds to the source text. In certain situations, it is appropriate to translate a pear into an apple (for example if the function of this fruit in the story stays the same and for the target audience apples are as common as for the source audience pears).<br /> <br /> ==Zhou Luoping 周罗平==<br /> As we have witnessed during the history of translation studies, the concentration has been on the different actors in the field of translation: “Skopos” concentrating on the function for the target audience and on the person and intention of the translator, “foreignizing” the text by moving it closer to the source author (and staying loyal to him/her) or “localizing” it, thus moving it closer to the target audience.<br /> 在翻译研究的历史中，我们见证了翻译领域中不同的行动者的关注:“目的论”关注目标受众的功能，关注译者的个人和意图，“异化”文本，让其更接近原文作者(并保持对原文作者的忠诚)，或者“本土化”文本，从而更靠近目标受众。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 14:30, 8 October 2020 (UTC)<br /> <br /> 在翻译研究史上，对翻译领域不同角色均有所关注：“目的论”关注目标受众，注重译者自身及其目的，“异化”强调使译本尽量接近原文作者（并忠实于原文作者），亦或“本土化”，强调使译文尽量接近目标语受众。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 02:03, 9 October 2020 (UTC)<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> “Hybrid men-machine translation” moves the focus to the individualization of the target texts, tailoring translations to the needs of individual readers/spectators. Neurology will map the thought processes necessary to create a thinking artificial intelligence and even tackles issues like consciousness, (self-)awareness, understanding as well as artificially enhanced human translation, swarm intelligence and consciousness.<br /> “人机混合翻译”关注目标文本的个性化，以满足读者或观众的个性化需求。人们根据神经学原理打造出会思考的机器人。机器人可以向人一样思考，甚至还具有意识，自我意识，理解能力，以及人为强化人工翻译，群体意识和意识。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:28, 8 October 2020 (UTC)Zhou Shiqing 周诗卿<br /> <br /> “人机结合翻译”关注的是目标文本的个性化，根据读者或观众的个人需求提供量身定制的翻译服务。神经学将编制出一套思维程序，必要时打造出一个可以像人一样思考的机器人，甚至还能解决问题，不仅具有意识、自我认知和理解能力，同时具有人为强化的人工翻译、集群智能和集体意识。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:52, 8 October 2020 (UTC)<br /> <br /> ==Zhou Shuyao 周书尧==<br /> Besides this trend towards individualization, there is a growing interest in sociology to understand translations as social processes and to concentrate on the interaction between the different actors.<br /> <br /> ==Zhou Siqing 周思庆==<br /> Certain things have turned out to be of eternal wisdom. It is also important to know your native language well, not just the foreign language.<br /> 结果证明有些事是永恒的智慧。不仅是学习外语，学习母语也很重要。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 14:24, 8 October 2020 (UTC)<br /> <br /> ==Zhou Yiwen 周艺文==<br /> We have also witnessed a journey of theories over the centuries, which all highlight different aspects of the phenomenon. They constrain themselves to the medium, the area, the grammatical level, the text-type, to certain problems (like establishing equivalence), they are oriented at products, functions or processes.<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> All these theories are at hand today to explain different parts of the translation process. We see different functional approaches, empirical-pragmatic ones, including didactic questions instead of old normative/prescriptive translation studies, approaches from the neurological and the social sciences, all trying to become aware of the translation process.<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> However, as Mary Snell-Hornby requested already in 1988 with her proposition of “integrated translation studies”, these theories need to be seen together as one today.<br /> <br /> 然而，正如Mary Snell-Hornby在1988年提出的“整合翻译研究”的主张所要求的那样，这些理论在今天需要被看作是一个整体。<br /> <br /> All of these theories can be boiled down to one question they serve: Is the translation appropriate? In other words, is it adequate, suitable, reasonable, fair, just, apt, situationally fitting, does it work in the target language/culture?<br /> <br /> 所有这些理论都可以归结为一个问题:这样翻译合适吗? 换句话说，它是否充分、合适、合理、公平、公正、恰当、应景，在目标语言/文化中是否仍适用?--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 08:23, 9 October 2020 (UTC)<br /> <br /> ==Zhu Meimei 祝美梅==<br /> Therefore, the “Appropriateness Theory” is the final theory of all translation theories. Of course there may be different answers to the question of appropriateness in different times and from different actors, perspectives, disciplines etc. An evaluation of the appropriateness of a translation can only be relative and never absolute.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> Therefore it is necessary to establish a system of evaluation, valuing the different aspects such as the function of the text, loyalty to the author, the ideals of literal/free translation, and how far a translation can ‘work’ in the target language.<br /> <br /> Of historical importance is the question for appropriateness, which in turn leads us to fundamental ethical questions: Should you report things you overheard from the foreign negotiation team to your own team to enhance your own team’s chances?<br /> <br /> ==Zhu Xu 朱旭==<br /> Is it appropriate to tell a standard joke in the target language when the country’s leader has told a racist joke? What implications does it have about the foreign country’s leader, when he laughs at your standard joke? The country’s leader may think he laughed at his (racist) joke. Is it appropriate to take over the role of a negotiation participant when you are hired for interpreting? (See the contribution in this volume.) When you are a wartime interpreter: Is it appropriate to translate propaganda and to interpret for a dictator?<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> Is it appropriate to translate the German order “Feuer!” [Shoot!] by the German commander into French if the collaborating French soldiers would commit a crime against humanity when they understood and executed the order? Where to draw the line to refuse to translate? What consequences does it have if you refuse? What responsibilities do interpreters and translators have? The Appropriateness Theory is complex and shows us that a Code of Ethics needs to be established.<br /> <br /> Bochum/Germany, September 30, 2020<br /> <br /> 德国指挥官发出命令“开火”，把这一德语命令翻译成法语，合作的法国士兵们要是听懂并执行了，就违背了人道，那这样翻译是否恰当？在哪里划分拒绝翻译的界线？如果拒绝翻译会有什么后果？口笔译者们有什么责任？恰当性理论十分复杂，表明我们需要确立道德规范。<br /> <br /> 2020年9月30日 德国/波鸿--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:48, 9 October 2020 (UTC)Zou Xinyu</div>

Wu Kai https://bou.de/u/index.php?title=20200928_trans&diff=98464 2020-10-03T04:49:13Z

<p>Wu Kai: /* Chen Sunfu 谌孙福 */</p> <hr /> <div>Link to return to [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage].<br /> <br /> Dear students, this is the homework of Sep 28, due in October 2020.<br /> <br /> =Task=<br /> An English book on contemporary Chinese literature was submitted to the Chinese editor. He has not enough time and asks his students to help to translate it paragraph by paragraph into Chinese. So this time it is easier than last time, because the translation is into Chinese. He also asks the students to help improve the translation of at least one fellow student und asks them to sign their translations with the signature button (buttons on the top, third from right).<br /> <br /> Since it is a book on contemporary Chinese literature, some quotations from Chinese novels in English need to be identified in the original language (Chinese) instead of retranslate the translations into Chinese.<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> The Chinese contemporary literature at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young writers from the Middle Kingdom, who are often celebrated like pop stars, publish their books partly in millions of copies, such as Guo Jingming郭敬明, seem too bizarre. This cult literature is translatable, however loses its cult status.<br /> ==Chang Huiyue 常慧月==<br /> <br /> Nevertheless, trends can be seen that reflect the extreme social upheaval process in China: Zhang Ailing 张爱玲 created women's literature with the inner view of the Shanghaier big city singles, for example, which has found a whole generation of successors. Or the vagabond literature (liumang wenxue 学 文学) of a Wang Shuo, which has become long since an establishment and whose current is attributable to the scandal literature.<br /> ==Chen Han 陈涵==<br /> <br /> The wave of nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel &quot;Three Kingdoms,&quot; e.g. from the professor and television presenter Yu Dan.<br /> Finally, the young, realistic literature with autobiographical traits and fictive elements of an alienated urban youth, which ultimately seeks the happiness of love between alcohol, drugs and party excesses. This literature certainly belongs to youth literature, since the protagonists belong to the younger generation. The authors themselves remain ephimatic, as long as they have not made the leap into the establishment, as Mian Mian.<br /> ==Chen Hui 陈惠==<br /> <br /> Surprising newcomer is the author Han Han, known for his critique of youth literature, who is bearing a humorous social criticism in his new work »Glory Days«, about a group of drop-outs in the style of Magical Realism, or almost a critical Surrealism.<br /> A colorful dance, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> ==Chen Jiangning 陈江宁==<br /> <br /> Before the Frankfurt Book Fair 2009, this little booklet will give an orientation guide and a small, certainly very subjective overview of the Chinese literature, as it appears at the book fair.<br /> 在2009年法兰克福图书展之前，这本小册子将会提供一个入门介绍，同时也会给予一个小小的，主观性十足的中国文学概述，这是毋庸置疑的，就像它在书展上展示的那样。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:39, 2 October 2020 (UTC)<br /> <br /> 在举办2009法兰克福图书展之前，这本小册子将对展会进行一个初步介绍，并呈现给人们一个小小的、颇具主观性的中国文学概要，就像图书展会上展现的那样。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 12:51, 2 October 2020 (UTC)<br /> 在2009年法兰克福图书展之前，这本小册子会提供一个入门介绍，并呈现中国文学泛泛而十分主观的概况，就像其在书展上展示的那样。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:40, 3 October 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> Who is also interested in the actual Chinese literature of the present day (because the book fair shows a section, which for various reasons is not at all representative of the Chinese contemporary literary literature) should be referred to the book &quot;Chinese Cult Literature 2008/2009&quot;.<br /> <br /> Bochum/Munich/Beijing/Shanghai<br /> <br /> Summer 2008/ Summer 2009<br /> <br /> Martin Woesler<br /> ==Chen Jingjing 陈静静==<br /> <br /> Chinese literature at the Frankfurt Book Fair<br /> <br /> China - the big department store<br /> <br /> With China's economic prosperity since 1978 came the leisure time. Unlike in Western countries, where this time has been filled with consumption, the new middle class of the Chinese use their leisure time in two ways:<br /> ==Chen Sha 陈莎==<br /> <br /> On the one hand, one has an irresistible ambition to catch up with the Western advance in time-lapse, to learn from the West and to overcome it, which is reflected in travel, learning English and foreign studies. Even at the party school management courses are taught.<br /> ==Chen Sunfu 谌孙福==<br /> <br /> On the other hand, according to the zero point of the Cultural Revolution, ten years without school education in 1966-1976, the Chinese have a greed for knowledge - they devour Internet, newspapers, books and are willing to pay enormous fees for private schools.<br /> <br /> 另一方面，以十年文革（即1966年-1976年这十年间学校教育停滞不前）为基准点，中国人渴求获得知识-他们如饥似渴地浏览网页、报纸和各类书籍，愿意花重金上私立学校。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 12:34, 2 October 2020 (UTC)<br /> <br /> 另一方面，经历文革十年（1966-1976）教育缺席的中国人求知若渴——他们如饥似渴地学习互联网，阅读报纸书籍，甚至愿意花一大笔钱去上私立学校。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 13:14, 2 October 2020 (UTC)<br /> <br /> 另一方面，由于文化大革命（1966-1976）使得中国在这期间没有学校教育，受教育程度变得极低。但是中国人极度渴望从网络，报纸，书本获得知识，他们不惜花巨款去私立学校。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 04:16, 3 October 2020 (UTC)<br /> <br /> 另一方面，由于文化大革命（1966-1976）使得中国在这期间没有严格意义上的学校教育，这使得全体中国人民受教育程度变得极低。但是中国人极度渴望从网络，报纸，书本获得知识，甚至他们不惜为此花巨款去私立学校求学。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:49, 3 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> Both trends in leisure design coincide with a flood of translations into Chinese.<br /> ==Cheng Yusi 成于思==<br /> <br /> The situation in Western countries is quite different, the interest for China is rather an exotic and reflectes in esotericism and few works that are translated. These are then selected to serve or even enhance the foreign character of the Chinese image. One still believes in the West, as the pioneer of modernization it is the place where the action is happening. <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> Newspapers are not yet as exciting as in Hong Kong and Japan because of the state information monopoly in China and so one reads in the subway no newspapers but books. China is just different. The books cost only 2 € to 3.50 € and sometimes reach millions of copies. And this, although the texts are long before on the Internet. Some authors have even found a publisher only after having a fanbase of their blog on the Internet.<br /> ==Ding Daifeng 丁代凤==<br /> <br /> Cult literature<br /> <br /> The Chinese bestsellers of contemporary literature of 2009 appear to be hardly compatible with the German book market, in which China is honorary guest of the Frankfurt Book Fair. Many stories of the mostly young, often celebrated like pop stars writers from the Middle Kingdom appear to be too bizarre, with their books partly written in millions, like Guo Jingming (26 years, Shanghaier, Tears against the Stream C 2007, first place of the Chinese bestseller list 2007, circulation: 550,000). Without life experience, Ms. Lin Huafeng has to raise her daughter alone after the divorce. She has to prostitute herself and her mental conflict worsens daily. The author, the Shanghai student Guo Jingming is a cultureless enfant terrible, but loved by the youth. What bears his name is immediately sold out. In the meantime, he has given his name to works by colleagues, and his book series best sellers (C 2008-2009) is a collage of love tales, comics, photographs, styling tips, etc., wrapped in foil so that all the gimmicks do not Fall out. Here, the advertising of the proper lipstick is added to the story. This cult literature is a teen phenomenon, the authors of this youth literature are pop stars. It is translatable, but however it loses the cult status. The German publishers have not chosen the books which the Chinese read, but the German readers might find interesting. In this article, these books, which are only available at the Book Fair from October, are already being presented.<br /> ==Fang Jieling 方洁玲==<br /> <br /> Chinese world literature<br /> <br /> This is the famous wedding scene from the novel &quot;Dream of the Red Chamber&quot; (C 1759 G 2009) by Cao Xueqin (1715-1763?). This was the last novel of world rank written in China, and this is 250 years ago. The novel is available in all major languages, and in German only a shortened paraphrase has been written down to one third. This shortcoming is fixed by the book fair: the European University Press presents a three-volume bound edition of books with more than 200 historical illustrations and a more favorable paperback edition of 2350 pages at the book fair. It was only in the 1920s and 1930s that the literature in China in times of the republic was able to develop again, and Lu Xun's stories from this period are reissued from the publishing house Unionverlag to the book fair. Another classic, Qian Zhongshus (1910-1998) essay collection &quot;Written on the Edge of Life&quot; (C 2000), is translated but is still searching for a publisher. Masterful tales are certainly also Yu Huas (49) &quot;Brothers&quot; (C 2005).<br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Vagabond literature<br /> <br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;,<br /> The German reader as a tourist in Peking may have been approached like this by the flying merchants.<br /> ==Gao Mingzhu 高明珠==<br /> <br /> This scene comes from the story &quot;Running Through Zhongguancun&quot; (C 2008, G 2009). Here the German reader can slip for the first time into the role of the seller, who is embodied by the 25-year-old Huang. Xu Zechen (31, lives in Beijing) has drawn the milieu authentically, the characters with dry humor and yet refreshingly lively. He describes a life between hot pavement and basement hole, between the dream of making big money and bitter setbacks, the daily cat-and-mouse game with the police. He experiences the world of the crooks as shark pond and as a conspiratorial community, in which everyone gives someone the shirt off one’s back, lose their existence, but get up again, he experiences the arbitrariness and corruption of the police. Here, worlds collide: the army of unemployed agricultural workers, who become small-scale criminals, and the urban population. The world of youth, who loves the freedom of the street, and the elderly, who appreciate the security of the wealth. This is one of the most recent and most promising stories from China, which show us a completely different China than the perfectly enacted Olympia organizer.<br /> ==Gong Yumian 龚钰冕==<br /> <br /> The novel &quot;Die Taschendiebe&quot; also fits into this realistic (C 2007, G 2009), Liu Zhenyuns (51), who was ranked No. 1 in the bestseller list in China in 2008, is a mix-up thriller about a interchanged bag, whose content can become dangerous for several important people. These types of stories appear several times at the book fair. In China, they are devoured by the young, urban audience. Wang Shuo (50) had created this kind of vagabond literatur, and his novel &quot;Playing for Thrills&quot; was sold 250,000 times in 2007, and stayed in place 6. One is getting deeper into storytelling with Jia Pingwa’s novel &quot;Happy&quot; (C 2007), which is about a farmer who sells his kidney to the city and finds a brittle happiness with a prostitute. It was sold in China 100,000 times. His even more famous novel &quot;Ruined City&quot; (C 1993) is also almost completely translated and is still looking for a publisher in Germany.<br /> ==Gu Dongfang 顾东方==<br /> <br /> Critical Surrealism <br /> <br /> This quotation comes from the story &quot;Glory Days&quot; (C 2007 G 2010) of another young author, Han Han (26). He describes the experiences of a Chinese dropout troop. Han Han enjoys a similar cult status as the same-aged Guo Jingming. He is equally famous as a critical blogger, sings his own pop songs (ghost town strategy), and drives car racings on the weekend. He also wrote his first stories as a pupil (Triple Door C 2000), became famous through a literature casting, writes humorously with a pointed pen, hardly anyone has got what was coming to one. In the 1990s, with his &quot;critical student literature&quot;, he provoked a teenage fever, brought out a sociocritical humorous novel with &quot;Glory Days&quot;, which sold itself in 2007 with others of his books about 200,000 times and thus ranked 13th Of the Chinese bestseller list. The author says he wanted to write in the style of &quot;Magical Realism&quot; for the first time, the novel is very angry humorous, sociocritical and grotesque in some places, it can be better described as Critical Surrealism. His latest book, &quot;His Kingdom&quot; (C 2009), ranked first place in the Chinese bestseller list in April 2009.<br /> ==Guan Qinqing 管钦清==<br /> <br /> Underground literature<br /> <br /> ... so writes Mian Mian (38 years old, lives in Shanghai, &quot;La la la&quot; HK 1997, G 2000, C 2009, &quot;Your night my day&quot; G 2004, C 2009). With her revealing description of her own life as a partygirl, she has shaped the Shanghai youth, Mian Mian has become a lifestyle. Ultimately she also seeks the happiness of love. She was the first to write about sex, drugs and alcohol, and was promptly banned in China. Therefore it is remarkable that the KiWi publishing house is brave enough to present her latest novel Panda Sex (C 2009, G 2009) at the book fair. Also in France her novel came out and was immediately praised by the daily newspaper &quot;Le Monde&quot;. And even in China times change: her last four novels were finally released in February 2009 and were sold out immediately.<br /> ==Gui Yizhi 桂一枝==<br /> <br /> Yearnings<br /> <br /> Literature of yearning has a great market in China. With this literature one can escape the materialistic everyday life in order to be carried away into an exotic but strangely familiar world. This literature of yearning is served by two sides in China: through the Tibet exoticism and the nostalgic wave. And Tibet is a topic that is well received abroad, therefore a safe investment for publishers, even though the stories from Tibet may still be too exotic and do not show the true Tibet. Also in China, Tibet is simply ‚in’. The presentation of the own Lama's shrine in the bedroom is the highlight of every house party. Even men wear carved cherry stone bracelets. The more superstition associated with these fetishes, the more chic.<br /> <br /> ==Guo Lu 郭露==<br /> <br /> Tibet exoticism<br /> <br /> so the story &quot;Distant Sources&quot; (C 2005, Unionsverlag G 2009) by the Tibetan author Alai (50) begins. Yes, even Tibetan authors are among the winners of this year's book fair. They are particularly in demand by Swiss publishers. At the confederate Chinabooks several young Tibetans are represented: Alai, Jamyang, Taering Öser, Tenzin Tsundue (34). Is it surprising that Ma Jian (56), who left Beijing for the first time and went on journeys, promptly went on a pilgrim to Tibet? &quot;Red Dust&quot;(C 2003). 220,000 times, the &quot;Tibet-Code&quot; of the hermitic He Ma, which has not yet been published in German, has sold itself, followed by three sequels. Gao Yi, who lives in Düsseldorf, writes adventure stories as well with Tibet exoticism and fantastic elements: &quot;The Tibetan Child&quot;, &quot;The Oracle&quot; and &quot;The Roman Ring&quot; (C 2004). At the same time, a flood of nonfiction books about Tibet appears in German-speaking countries, often with mysterious titles such as &quot;The Secret Life of the Dalai Lamas. The Story of the God-kings of Tibet &quot;(G 2007, PB 2009),&quot; Fleeing through Ice and Snow &quot;,&quot; The Way of the White Clouds&quot;or &quot; Escape from Tibet&quot;.<br /> ==Han Haiyang 韩海洋==<br /> <br /> Nostalgia<br /> <br /> Through China flows a nostalgic wave, the overthrown Communist ideology has been replaced by the return to traditional values. In 1974 Confucius had been dismantled in a campaign, since 2007 Confucius institutes have been opened all over the world. Also on the bestseller lists this literature stands at the top. The professor Yu Dan (Beijing) interpreted Confucius in a television series. Her book &quot;Confucius from the Heart&quot; (C 2006, G 21.08.2009) with modern commentaries around the Confucius classics &quot;Talks&quot; landed in China with 503,000 sold copies in 2007. It makes Confucius in simple language, with lively pictures and Current examples from everyday life. Since the trend in China goes to the second book, i. That a second book of the same kind is being postponed to a successful book, she continued to comment on the philosopher Menzius. Does this commentary also work in Germany, where one hardly knows the original texts? At the book fair, the Confucius commentary is also available, the Droemer publishing house has taken the risk and presents the comment in German translation, but not as in the Chinese edition with original text in the appendix. This nostalgia literature in China also includes comments on the classic novel &quot;Three Kingdoms&quot; (C 2006) by Yi Zhongtian (62), which ended up in 2007 with 340,000 copies of the bestseller list, the historical novel about the last imperial dynasty. “The Qing Prime Minister” (C 2007) by Wang Yuewen (46) and &quot;War Drums&quot; (C 2006) by Dou Liang (55) about old Beijing, all of them had at least 200,000 sold copies in 2007.<br /> <br /> 怀旧风<br /> <br /> 中国正掀起一波怀旧浪潮。传统价值观的回归代替了已经推翻的共产主义意识形态。1974年，孔学在一场运动中逐渐推出历史舞台，但是从2007年开始，孔子学院已向全世界开放。同时孔学相关书籍也在畅销书的榜首。于丹教授（北京）把孔子翻拍成了电视剧。她的书《论语心得》（C 2006, G21.08.2009）带有孔学经典《论语》的现代评论2017年在大陆发售已超过503，000册。这本书使得孔学理论以一种简单的语言，生动的图片和日常生活的例子呈现出来。自从这孔学潮流在中国推出了第二本书，i. 相同类型的第二本书的成功销量是要晚一些。于丹继续在考究着哲学家孟子。是否这种评论会在德国起到相同的效应呢，毕竟德国对原著几乎都不了解？在书会上，可以见到孔学评论相关书的身影，德语出版社冒险展出了其德语版本，但是和中文版本不同的是在附录上没有原文。这种怀旧文学在中国还包括了易中天（62）的评论关于经典小说《三国志》（C 2006），一部描述最后一个帝王朝代的历史小说，其销量在2007畅销排行榜年达到了340，000册。 王跃文（46）的《秦始皇》和窦亮（55）描写老北京的《战鼓》（C 2006），一共销售了200，000册在2007年。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 03:32, 3 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> Women's literature<br /> <br /> The literature of the mega cities looks different in Beijing and Shanghai: just as in Beijing, the vagabond literature of a Wang Shuo is at home, Shanghai also developed with Zhang Ailing (1920-1995) her own literature, in this case an autobiographical literature of women that describes the emotional life of Shanghai single women. Mian Mian is the latest appearance of this woman literature, although her female figures often seem to depend on their partners. However, Mian Mian is the only female writer that is taken seriously and translated for the book fair. In &quot;Frauenboxen&quot; by Bi Shumin (57) the female figures seem, as the title suggests, more self-consciously, therefore the book has been sold 180,000 times. Her feminine novel &quot;Female Psychologist&quot; (C 2007) was so successful that several volumes were published. On the bestseller list, she is closely followed by Annie Baobei (34), with 175,000 first-person narrations sold, under the title &quot;Fat years, meager years&quot; (C 2007), in which the young women see the world with their own eyes. With 160,000 copies follows the marriage counselor follows &quot;Holding Hands &quot; (C 2007) of Wang Hailing (55).<br /> <br /> 大城市的文学作品，像北京和上海，是大不相同的：就比如说在北京有王朔的痞子文学；而在上海流行的是张爱玲的文学小说，这种文学属于女性自传文学，主要描述了上海单身女性的情感生活。棉棉是女性文学代表人物的新兴面孔，尽管她所塑造的女性角色看起来似乎非常依赖她们的伴侣。然而，她是唯一一个认真对待书展，并且为书展做翻译的女性作家。在毕淑敏的作品《女性》中，女性人物的形象正如标题一样似乎显得更有自我意识，因此这本书畅销18万次。毕淑敏的女性小说《女心理家》（C 2007)创作地非常成功，因此出版了很多册。在畅销书单列表中，紧随其后的是安妮宝贝，她的第一人称叙述小说热销175000本，其中有一本叫《素年锦时》，主要讲述了年轻的女性用她们自己的视角看待世界。王海鸰的《牵手》成为了婚姻顾问的参考指导书，160000本复印版下发至婚姻顾问。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 03:56, 3 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> <br /> Literature of mental distress<br /> <br /> Finally, there is still the literature of mental distress, mastermind Mo Yan has pointed out abysses of human behavior in his &quot;Sandalwood Death&quot; (C 2001). The framework is the German colonial history in China, the railway construction and the revolt of the boxer. Mo Yan describes a fictitious story in which Guomindang General Yuan Shikai, with the last imperial headman, wants to conduct a cruel execution by torture against a man who rebelled after his family had previously been desecrated and killed by Germans. Contrasted with this, Mo Yan portrays the last opera singer of the Maoqiang local opera from the region around Gaomi. The language is pathetic, symbolic and emotionally charged. The description of the inner conflict of the physician, who is told to keep the victim alive until the German colonizers see him, is shattered. His only advice &quot;Remove the sandalwood!&quot; is not obeyed, since this is precisely the torture. In this book the search for a translator was more difficult than usual, thanks to Chinese government-funded support, it was finally realized at the publishing house Insel-Verlag. Equally doubtful is the wisdom, which may result from the influential book &quot;Wolf Totem&quot; (C 2004 G 2009) by Jiang Rong (63), since the author wants to explain the Chinese people's folklore:<br /> ==Hu Baihui 胡百辉==<br /> <br /> This also means hope for freedom and democracy. A good adventure novel, but the moral of the story, natural laws instead of civilization, in today's materialistic Chinese reality the wrong advice. The book is stagnating in the middle of the bestseller lists in China, but remains there until 2008. It was heavily advertised, Random House paid for the German edition 20,000 € in license rights after Goldblatt had laid for the English 100,000 USD - somehow the investion has to roll in and so it is called in the advertising texts &quot;The most successful book since the Mao Bible&quot; - this decision is left to the reader.<br /> ==Hu Huifang 胡慧芳==<br /> <br /> Discrepancy Chinese Literature - Book Fair<br /> <br /> All these currents will be represented at the Frankfurt Book Fair. Some of them are preparing to refute the withering verdict of the sinologist Wolfgang Kubin from 2006, who referred to the Chinese literature since 1949 as &quot;garbage&quot; and especially attacked writers like Mian Mian, making her one of the most controversial writers. Although she has long been forbidden in China, had no benefits from the Chinese government's promotion of translation, and does not belong to the carefully selected semioffical writers' delegation, besides the short story &quot;Running Through Zhongguancun&quot;, narratives such as &quot;Brothers&quot;, &quot;Taschendiebe&quot; and perhaps a classic like &quot;Dream of the Red Chamber&quot;, will be Mian Mian's book &quot;Panda Sex&quot; one of the bestseller of the book fair. In the following editions we will introduce individual authors and currents and begin with her - Mian Mian.<br /> ==Hu Jin 胡瑾==<br /> <br /> Bestseller list of Chinese authors 2007<br /> <br /> Last update: 9.11.2007, researched and reviewed in note form<br /> <br /> In the question of what to understand by contemporary literature, one has to clarify various assumptions:<br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Is the complete literature taken into account, or are certain categories of literature excluded? In the current case, we restrict us to literary books (no nonfiction books, for which there are often separate bestseller lists). Thus every objectively well-sold book will be named. It is only in a second step, in the evaluation for the German book market, that children's literature is excluded.<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Are the books objectively presented by sales figures? Is this the only criterion for evaluating commercial success? This has the implication that high-minded literature usually ends up further down on the bestseller list as the dime novel. An exception in the West may be e.g. Harry Potter, who has besides his youthful target group, also at least in the English original literary claim.<br /> ==Jiang Hao 姜好==<br /> <br /> It is striking that there is hardly any accordance between the list of bestsellers with the list of actually translated literature and also not with the list of government-sponsored translations. The most important reason is that the bestseller list in 2007 is the current literature, as it was read in China at the beginning of 2008. But for the book fair the publishers have commissioned much older books for translation. Only in a few titles is the translation market already as fast as e.g. in the translation of American novels into German, e.g. &quot;Wolf Totem,&quot; &quot;Confucius from the Heart,&quot; or Mian Mian's &quot;Panda Sex.&quot;<br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> This bestseller list and the evaluations were presented at the technical lecture &quot;Rotes Kornfeld&quot; in the German Publishers and Booksellers Association for the Frankfurt book fair on the 29th April 2008, so that the publishers who had sent their lecturers and the other translators could consider the presented titles in the planning. Some of the titles were realized. Others may stay interesting for a later time.<br /> ==Kang Haoyu 康浩宇==<br /> <br /> For the development of the number of translations from Chinese I refer to appropriate investigations. <br /> <br /> First of all, the full list, followed by the criteria after the list has been cleared with regard to the German book market.<br /> ==Kang Lingfeng 康灵凤==<br /> <br /> Note: The book cover and photos of the authors were provided by the publishers for reproduction and are reproduced here for this scientific study. Copyrights and reproduction rights of the illustrations remain at the respective publishers or rights holders.<br /> ==Kong Xianghui 孔祥慧==<br /> <br /> 1st place: Guō Jìngmíng / Guo Jingming郭敬明(born 6.6.1983, lives in Shanghai), 550.000 sold copies, »Tears against the Stream«郭敬明Changjiang literature and art publishing house, 5/2007, 340 pp. Rating: 1.0. Without life experience, Ms. Lin Huafeng has to raise her daughter alone after the divorce. She has to prostitute herself and her mental conflict worsens daily.<br /> <br /> This novel could also become a bestseller within the framework of China literature in Germany.<br /> The Shanghai student Jingming Guo is something like a cultureless enfant terrible, grades worse than Han Han, but loved by the youth.<br /> <br /> His series &quot;Bestseller&quot;最小说is rated 4.0. The novels are collage-like and also composed of foreign languages. They are illustrated in color and presented with all sorts of tips and gimmicks (recipes, make-up, pictures) etc. Further details and translation, see next chapter.<br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> 2nd place: Yú Dān / Yu Dan于丹(born 28.6.1965, lives in Beijing), &quot;Thoughts on the conversations of Confucius&quot; &quot;论语&quot;心 得, 503.000 copies sold, Zhonghua Book Company, 11/06 157 pp. , Evaluation score: 1.7.<br /> 第二位:于丹，(生于1965年6月28日，现居北京)，《于丹&lt;论语&gt;感悟》、《于丹&lt;论语&gt;心得》，销量503,000册，中华书局，11月6日发行，第157页，评分:1.7.--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> Yu Dan is the moderator of a TV discussion on Confucius. In this book she explains the two-thousand-years-old classic, which the Chinese memorize by referring to the present.<br /> 于丹曾主持过一档关于孔子的电视评论栏目。在这本书里，她解读了一部写于两千多年前的经典名著，直至今天，这本著作<br /> 仍被中国人提及。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> The translation presents a special challenge because the German reader lacks the background knowledge. Here, the publishing house found the solution to attach the original in an existing translation in the appendix.<br /> Translator: Johannes Fiederling (Munich), Publisher: Knaur.<br /> 阅读这本著作对于德国人来说是一个特殊的挑战，因为他们缺乏与之相关的背景知识。出版社找到了一个解决办法，将一篇已有的翻译附加在原著的附录上。译者:约翰内斯·费德林(Johannes Fiederling)(慕尼黑），出版社:科努尔(Knaur)--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> <br /> Yú Dān于丹»Yu Dan’s Notes on Zhuangzi« &quot;《庄子》心得Zhonghua Book Company, Rating: 4.0.<br /> This is a typical second book. This should only be tackled when the first book becomes a success.<br /> 《于丹&lt;庄子&gt;心得》，中华书局，评分:4.0.<br /> 这本书是于丹第二本经典书籍。只有读懂第一本书后，才能读懂这本书。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 3rd place: Yì Zhōngtiān / Yi Zhongtian 天 中天 (born 8.2.1947, lives in): »Chronicles of the Three Kingdoms« Volume 1-2品三国（上下), 340.000 sold copies 2007, Shanghai Literature and Art Publishing House , Vol. 1 7/06 248 pp., Vol. 2 3/07 274 p. Rating: 3.0.<br /> <br /> Explanations on the classical novel &quot;Three Kingdoms&quot;, typical title of the nostalgic wave. Even less popular with the German public.<br /> <br /> 4th place: Zhèng Yuānjié / Zheng Yuanjie郑渊洁 (born 15.6.1955): »Pipi Lu; Rock the Wolf &quot;皮皮鲁总动员;大灰狼罗克, 285.000 sold copies. Rating: 4.0. Children's books.<br /> <br /> 5. Ráo Xuěmàn / Rao Xueman 饶雪漫 (born 1972), &quot;Sweet-sour&quot; 甜酸 11/07, 235 pp., New World publishing house, 260.000 sold copies. Rating: 3.7.<br /> Love story for teenagers / sentimental kitsch.<br /> <br /> Sandglass Volume 1-3, 沙漏, 279 pp., Gegenwartswelt Publishing House, Rating: 3.7.<br /> Love story for teenagers / sentimental kitsch.<br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 6th place: Wáng Shuò / Wang Shuo: 王朔 (born 23.8.1958): &quot;Playing for Thrills&quot; 玩的就是心跳, 250.000 sold copies. Rating: 1.3.<br /> Already translated by Ulrich Kautz, Diogenes 5/1997.<br /> <br /> 7th Place: Yáng Hóngyīng / Yang Hongying杨红樱(born 1962), &quot;Children’s Stories about Love&quot;爱的童话, 240.000 sold copies. Rating: 4.0. Children's books<br /> <br /> 8th place: Cáo Wénxuān / Cao Wenxuan曹文轩 (born 1.1954) »Fantasy: King's Books - The Yellow Pagoda«大王书——黄琉璃, 225.000 sold copies. Rating: 4.0. Fantasy.<br /> <br /> 9th place: Wáng Yuèwén / Wang Yuewen王跃文 (born 26.9.1962) »The Qing Prime Minister« 大清相国, 217.500 sold copies, 3/07, 493 pp.<br /> Rating: 3.7. Historical civil servant novel, difficult to transfer, only suitable for expert audience.<br /> <br /> 10th place: Yú Qiūyǔ / Yu Qiuyu余秋雨 (born 23.8.1946): »A Life Borrowed « 借我一生, 215:000 sold copies. 8/04, 617 pp., Autorenverlag.<br /> Rating: 2.0. Autobiography of a famous Chinese writer.<br /> ==Li Haiquan 李海泉==<br /> <br /> 11th place: Cài Jùn / Cai Jun蔡骏 (born 23.12.1978): »Destiny volume 1: The city in deep sleep«天机: 第一季: 沉睡之城, 202.500 sold copies. 9/07, 240 pp., Shaanxi Pedagogical College Publishing House陕西师范大学出版社4 volumes. Rating: 4.0. Historical adventure / fantasy novel after the pattern of &quot;Lost&quot;.<br /> <br /> 12th place: Dōu Liáng / Dou Liang都梁(born 6.1954): &quot;War Drums in Beijing&quot;狼烟北平, 200.000 sold copies, Changjiang Literature and Art Publisher, 4/06, 371 pp. [Second user: Folk Literature Publishing House].<br /> Rating: 2.0. War novel about the 1930s in Beijing. Also interesting for Germans.<br /> <br /> 13th place: Hán Hán / Han Han韩寒(born 23.9.1982): &quot;Glory Days&quot; 光荣 日, 190.000 sold copies. 6/07, 186 pp., 21st Century Publishing House. <br /> Rating: 1.0. Seven graduates drop out, instead of working in a foreign company. They perform pioneering work in the village (house construction, primary school, vegetable growing). Social critical novel with wit.<br /> ==Li Lili 李丽丽==<br /> <br /> 14th place: Bì Shūmǐn / Bi Shumin毕淑敏 (born 1952): &quot;Women's Boxes&quot;女儿拳, 182.500 sold copies. 254 pp., Blindenschrift Publishing House.<br /> Rating: 2.0, women's narratives.<br /> <br /> Female Psychologist« 女心理师4/07 Chongqing Publishing Group, 253 pp., 2 vols. Rating: 2.0, women’s novel.<br /> <br /> 15th place: Ānnī Bǎobèi / Annie Baobei安妮宝贝 (born 11.7.1974): »Fette Jahre, magere Jahre« 素年锦时, 175.000 sold copies, 9/07 264 pp., Authors Publishing House.<br /> <br /> Rating: 1.3. The female first-person narrator of these stories is in each case a young woman who sees the world with her own eyes.<br /> <br /> 16th place: Wáng Hǎilíng / Wang Hailing王海鸰 (born 12.1953): »Holding Hands« 牵手, 160.000 sold copies. 7/07 346 pp. Authors Publishing House.<br /> Rating: 4.0. guidebook.<br /> <br /> 17th place: Hǎi Yán / Hai Yan 海岩 (born 1954): »Five-Star Hotel« 五星大酒店, 157.500 sold copies. 8/07, 342 pp. Authors Publishing House.<br /> Rating: 2.0. Novel about a student from simple circumstances, who becomes the heir to a Korean financial group, and his girlfriend.<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> 18th Place: Yán Chóngnián / Yan Chongnian阎崇年(born 24.4.1934): »Beijing: The Treasures of an Ancient Capital«中国古都北京, 150.000 sold copies. 1/08, 302 pp., Democracy and Law Publishing House.<br /> Rating: 4.0. Specialized book.<br /> <br /> 19th place: Tiānxià Bàchàng / Tianxia Bachang天下霸唱(born 1978): »A bizarre story of ghost blowing out the light« 鬼吹灯, 140.000 sold copies.<br /> Vol. 1 The Perfect Ancient City, Vol. 2 The Weasel Grave, Bd. X The Valley of Insects. Rating: 4.0. Magic series on Harry Potter wave.<br /> <br /> 20th place: Lù Tiānmíng [Lu Tianming] 陆天明 (born 1943): »Provincial Secretary« 省委书记, 125.000 sold copies.<br /> Rating: 4.0. The very title is currently not enforceable on the German book market.<br /> <br /> 21st place: Shí Zhōngshān [Shi Zhongshan] 石钟山(born 10.1964): »Underground, Overground«地下,地上115.000 sold copies. Rating: 4.0. Plagiarism?<br /> ==Li Liqin 李丽琴==<br /> <br /> 22nd place: Dāngnián Míngyuè [Dangnian Mingyue] 当年明月 (born 1980): &quot;Storys about Ming Dynasty (volume Yuanzhang Zhu, volume 2, 3, 4)« 明朝哪些事（朱元璋卷）, 2, 3, 4. 112.500 sold copies.<br /> Rating: 2.0. Historical novel about the Ming period (The 1st Emperor of the Ming Dynasty was transformed from beggar to emperor).<br /> <br /> 23rd place: Liú Xīnwǔ [Liu Xinwu] 刘心武 (born 1942): »Liu Xinwu about …« 刘心武说, 100,000 sold copies.<br /> Rating: 4.0.<br /> Series with at least 3 volumes.<br /> <br /> 24th place: Yáng Zhìjūn [Yang Zhijun] 杨志军 (born 1955): »The Tibetan ethnic group Zang'ao (Vol. 1, 2, 3)« 藏獒1, 2, 3. 90.000 sold copies.<br /> Rating: 4.0.<br /> Ethnological-historical representation<br /> ==Li Luyi 李璐伊==<br /> <br /> 25th place: Jiǎ Píngwā [Jia Pingwa] 贾平凹 (born 21.2.1952): »Happy« 高兴, published 9/07, 461 pp., Authors Publishing House.<br /> 75.000 sold copies.<br /> <br /> Rating: 2.0.<br /> Novel about a farmer who sells his kidney to the city and finds a brittle happiness with a prostitute in the city.<br /> <br /> Not yet published in German by the same author:<br /> <br /> »Ruined City« 废都. 381 pp., 1993, Culture and Art Publishing House.<br /> Rating: 1.7.<br /> Novel with erotic elements about male men and female women, about the rotten urban life (exists to a half)<br /> ==Li Meng 李梦==<br /> <br /> Selection procedures on the recommendations for publishers<br /> <br /> The basis for this was the bestseller list in 2007. The following exclusion criteria were applied afterwards:<br /> Already released: Wang Shuo (Playing for Thrills) - Diogenes<br /> Children's books: Zhèng Yuānjié (Pipi Lu; Rock the Wolf), Yáng Hóngyīng (Children's Books about Love)<br /> Suspicion for plagiarism: Shí Zhōngshān (Underground, Overground)<br /> Guidebook: Wang Hailing (New Age of Marriage)<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> Specialized books: Yán Chóngnián (Beijing: The Treasures of an Ancient Capital), Yáng Zhìjūn (The Tibetan ethnical group Zang'ao)<br /> Sentimental Kitsch: Ráo Xuěmàn (Sweet-sour, Sandglass)<br /> Fantasy (Potter epigones): Cáo Wénxuān (Kings books: The yellow pagoda); Cài Jùn (Destiny volume 1: The City in deep Sleep, historical adventure / fantasy novel after the pattern of &quot;Lost&quot;); Tiānxià Bàchàng (A bizarre Story of Ghost blowing out the Light: Bd. 1 The Perfect Ancient Town, Vol. 2 The Weasel's Grave, Bd. X The Valley of Insects)<br /> ==Li Yu 李玉==<br /> <br /> Other socialization: Yì Zhōngtiān (comments on the &quot;Three Kingdoms&quot; volume 1-2); Wáng Yuèwén (The Qing Prime Minister = historic civil servant novel); Lù Tiānmíng (The secretary of the Provincial Party Committee - the title alone is not conceivable at the German book market); Liu Xīnwǔ (Liu Xinwu says: ... - The author is largely unknown in Germany, so one does not want to know anything about his multivolume sentiment about everybody and his dog - tradition such as Suixiang lu by Ba Jin.)<br /> ==Lin Min 林敏==<br /> <br /> National hype: Guo Jingming (novel bestseller = Bestseller. The novels are collagen-like and also composed with foreign texts. They will be illustrated in color and presented with all kinds of tips (recipes, make-up), etc. Success can only be explained by enfant terrible Guo Jingming.) <br /> Tip: conclude general contract with Chinese publisher for an author (like Piper with Shan Sa)<br /> <br /> 国内的炒作：郭敬明（新奇的畅销书也是畅销书。他的小说就像拼贴画一样，其中还有外文文本。书中有彩色插图，展示各种技巧(如食谱，化妆)，等等。年少成名，郭敬明是成功二字唯一的阐释者。小贴士:他与中国出版社签订的是一般合同(如派伯（Piper）出版社与山飒（Shan Sa）的合同一般)。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:46, 2 October 2020 (UTC)<br /> <br /> 国内炒作：郭敬明（小说畅销书也就是畅销书。他的小说就像拼图贴画一样，其中与外文文本相结合。书中有彩色插图，展示各种技巧(如食谱，化妆)，等等。年少成名，郭敬明是成功二字唯一的阐释者。小贴士:他与中国出版社签订的是一般合同(如派伯（Piper）出版社与山飒（Shan Sa）的合同一般)。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 02:58, 3 October 2020 (UTC)<br /> <br /> 国内炒作：郭敬明（畅销的小说也就是畅销书。郭敬明的小说是拼图版式并且常与外文文本相结合。书中有彩色插图，提供了各种各样的技巧（如食谱、化妆等）。郭敬明向我们诠释了“成功”这两个字。。小贴士：他与中国出版社签订的是一般合同（如派伯出版社和山萨的一同一般）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 04:20, 3 October 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Further recommendations for German publishers for publication<br /> <br /> At the translator meeting in Frankfurt, I had recommended two more works, which are not on the current bestseller lists, but which are absolutely necessary to translate and actually appeared at the book fair:<br /> <br /> On the one hand, the &quot;secret bestseller&quot;, Mian Mian's Panda Sex, which was forbidden in China, appeared in Hong Kong and became a bestseller in China under the shop counter and on the Internet. It was only in February 2009 that a censored version could be published in China, which was sold out immediately after the release.<br /> ==Ling Zijin 凌子瑾==<br /> <br /> 1. Mián Mián棉棉 »Panda Sex« 熊猫. Prohibited in the People's Republic of China. Published in revised version 2/2009, 1st edition immediately out of print.<br /> German translation by Martin Woesler with Lihua Ji, Kiepenheuer &amp; Witsch 2009.<br /> Published in Chinese: 12/04, 181 pp., Massenverlag Publishing House<br /> Rating: 1.3.<br /> Scandal book about a Shanghai love affair in free love, cf. La la la, Candy, Your night my day, cf .: Wei Hui: Shanghai Baby.<br /> <br /> For details, see one of the following chapters.<br /> ==Liu Bo 刘博==<br /> <br /> 2. Cáo Xuěqín 曹雪芹 » Dream of the Red Chamber or The Story of the Stone« 红楼梦.<br /> This book appears in 2009 in a bound edition in three volumes and in a paperback edition in a volume.<br /> Approx. 1759, 2300 pp.<br /> Rating: 1.3.<br /> Everlasting bestseller in China, could become a longseller in Germany. Previously there was only a 70% shortened version by Franz Kuhn. The new version is uncut.<br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> On the situation of Chinese publications in Germany (selection list before the book fair)<br /> <br /> Here is a list of Chinese publications in German translation before the book fair.<br /> In 2008, only 11 literary works from Chinese to German were translated.<br /> <br /> An important translator is Ulrich Kautz, here some of the translated novels<br /> <br /> Unfortunately many translations do not come directly from Chinese, but rather from the indirection of English or French, as one of the more famous novels: Gio Waeckerlin Induni (Transl. f. Fr.) Dai Sijie: Balzac and the little Chinese Seamstress &lt;Piper&gt; 192007<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> Recent Literary History: &quot;Modern Chinese Literature in Translation - Historical Development and Current Trends&quot;<br /> <br /> 1. Development<br /> <br /> Chinese literature is traditionally received in Germany because of its exoticism (Diederich’s Yellow Series, etc.). In Germany operated especially the exotic translator - with a tremendous amount of translation work: Franz Kuhn.<br /> The last great Chinese literature was Dream Of The Red Chamber ca.1760<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> In the period of the Republic appeared (about 1911-1937) great novels such as Ba Jin: The Family (cf. Buddenbrooks), the end of the Republic saw the beginning of the functionalization of literature (anti - Japanese resistance, civil war parties Guomindang and the Communist Party), intellectuals contributed to the reform with essays, experimental literature was written (Lu Xun: Diary of a Madman and The True Story of Ah Q, which were as revolutionary as Kafka with minimally reduced fictional elements in realistic spelling) and essays (suibi of Zhou Zuoren and socio-critical My Miscellaneous Studies杂文 zawen from his brother Lu Xun).<br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> In Communism, the functionalization of literature (tendency literature) and censorship (Ba Jin censored e.g. his novel The Family by himself) lowered the level, which was ultimately left to the cultural revolution, which wanted only a few model pieces to survive.<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Today the exoticism begins to disappear for the first time because there is an approximation of the cultural background of the Chinese authors with the international authors, and because the functionalization has been replaced by commercialization (mass literature phenomenon Wang Shuo - but not pure fiction like Konsalik, but rather very socio-critical, language of the youth, unmasking the hollowness of slogans through use in the everyday language).<br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> Even within China, literature has become pure consumption, has lost its reputation, and loses itself towards other media consumption (Internet / film / DVD) audience.<br /> In the last decades, German publishers have published less Chinese literature, while other media genres, such as the Chinese cinema, have been particularly popular because of the exoticism of the images.<br /> <br /> Secondary literature: Martin Woesler: &quot;50 Years of 'Impossible Literature' in the People's Republic of China: Unfreedom, the 'Attempt to End the Enlightenment' and the Lack of Quality ', in: Between Mao and Confucius, Bochum 1999, pp. 151-188.<br /> ==Liu Zhiwei 刘智伟==<br /> <br /> 2. Present<br /> <br /> In the present, there is a counter-movement to mass literature, such as Shanghai's extreme individualists (Bei Bei, Wei Hui, Mian Mian)<br /> <br /> 2.1 Another characteristic of contemporary literature is the mass: Helmut Martin estimated that about 800 novels appeared annually at the beginning of the nineties; after 1995 the number had increased to about 1000. In the 1980s, only 100 novels a year!<br /> <br /> 2. 现在<br /> <br /> 目前，社会上存在反对大众文学的运动，比如上海的某些极端个人主义者：北北、卫慧、棉棉。<br /> <br /> 2.1 当代文学的另一个特点是大众化：马汉茂先生曾估算，90年代初每年出版大约800本小说；1995年之后，数量已增加到1000本。而在80年代的时候，每年只有100本！--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 03:42, 3 October 2020 (UTC)<br /> <br /> 2.现在<br /> <br /> 目前，有一场反大众文学的运动，如上海的极端个人主义者(贝贝、卫慧、绵绵)<br /> <br /> 2.1当代文学的另一个特点是大众化:赫尔穆特·马丁估计，在90年代初，每年大约有800部小说问世;1995年以后，这个数字增加到大约1000人。在20世纪80年代，每年只有100本小说!--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 04:13, 3 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> 2.2 ,Young Literature’: It has only been defunctionalized since the 1980s, recognizes that it has started from a zero point, begins with the repressed coping with the past, dares the experiment as in the autobiographical urban literature.<br /> Wang Shuo (born 1958), Masters of Mischief, Zurich: Diogenes, 1997, Playing for Thrills, Zurich: Diogenes, 1995<br /> ==Luo Weijia 罗维嘉==<br /> <br /> Literature: Geremie Barmé: &quot;Wang Shuo and ,Liumang’ (Hooligan) Culture,&quot; in: The Australian Journal of Chinese Affairs (1992.2), pp. 23-64; Yusheng Yao: &quot;The Elite-Class Background of Wang Shuo and His Hooligan Characters,&quot; in Modern China. An International Quarterly of History and Social Science (2004.4), pp. 431-469.<br /> Yu Hua余华(born 1960) Mastermind<br /> Mo Yan莫言(born 1956) Mastermind (figurative)<br /> Wang An-yi王安忆 (born 1954)<br /> Bei Dao北岛 (born 1949) poet<br /> <br /> 文学：格雷米·巴梅的《王朔与流氓文化》刊载于《澳大利亚中国事务杂志》（1992.2），第23-64页；姚玉生的《王朔及其流氓人物的精英阶层背景》刊载于国际历史与社会科学季刊《现代中国》（2004.4），第431-469页。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 06:12, 2 October 2020 (UTC)<br /> <br /> 文学：白杰明（Geremie Barmé）的《王朔与流氓文化》刊载于《澳大利亚华人事务杂志》（1992.2），第23-64页；姚玉生（Yusheng Yao）的《王朔及其流氓人物的精英阶层背景》刊载于《国际历史与社会科学》季刊《现代中国》（2004.4）第431-469页。<br /> 余华（1960-）策划<br /> 莫言（1956-）形象策划<br /> 王安忆 (1954-) <br /> 诗人北岛 ( 1949-) --[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:18, 2 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> Su Tong 苏童 (born 1963)<br /> <br /> Wei Hui 衛慧 (born 1973): 上海寶貝Shanghai Baby, Munich: Ullstein, 2002; Marrying Buddha, Munich: Ullstein, 2005; 熊貓(not yet published in German: Pandasex)<br /> Mian Mian棉棉(born 28.8.1970): La la la, Cologne: Kiepenheuer &amp; Witsch, 2000; Your Night, my Day, Cologne: Kiepenheuer &amp; Witsch, 2004; Candy糖, 2000.<br /> <br /> Literature:<br /> Jie Lu: &quot;Cultural Invention and Cultural Intervention: Reading Chinese Urban Fiction of the Nineties&quot;, in: Modern Chinese Literature and Culture (2001.1), pp. 107-139.<br /> A comparison between Zhang Jie张洁(born 1937) and Mian Mian / Wei Hui: James Farrer: Opening up. Youth Sex Culture and Market Reform in Shanghai (Chicago: University of Chicago Press, 2002).<br /> ==Ma Juan 马娟==<br /> <br /> Thilo Diefenbach: &quot;Chinese Literature under the Sign of the 'Upturn': Liu Jiming, Zhang Wei, Liu Qingbang<br /> And their Answer to the big City Literature, &quot;in: Bulletin of the German China Association 2006 (in preparation) [rural China, critical against upturn]<br /> Thilo Diefenbach: Liu Jiming, Zhang Wei, Liu Qing-bang, Bochum 2006<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> 3. Specific problems on the Chinese-German translation process<br /> 3.1 Translator = additional filter (further filter: place, possibly time, especially difficult, because great cultural difference)<br /> <br /> 3.2 Since in Chinese with 413 phoneme combinations only a fraction of what is possible in German is available, phonetic expressions in Chinese sound strangely clumsy for German ears: &quot;汪wāng&quot; instead of the variations in German &quot;Wau&quot; and &quot;Wuff&quot;, 喔喔喔wōwōwō&quot; instead of ‘kikeriki’ &quot;as in German and Czech, cf. “kokekoko” in Japanese, &quot;cocorico&quot; in French, &quot;cook-a-doodle-doo&quot; in English,&quot;kuckeliku&quot; in Swedish.<br /> ==Ma Zhixing 马智星==<br /> <br /> At the same time the Chinese is essentialy more rhythmically accentuated by the syllable and character structure and the lack of flexion, and because of the numerous homophonies and the tonal system invites to play with the notes. Especially in pre-modern poems, the original song melodies have been lost, and the tone sequences of the reconstructed spoken language at that time are hardly to render adequate with the non-tonal and less rhythmic possibilities in German, especially since rhymed poems in German nowadays seem very antiquated. However, since the effect is important, many translators fall back on the unbounded language. Volker Klöpsch has shown that bounded translations of prehistoric Chinese poems are still not inferior to their unbounded younger sibling translations in the translation quality, since the bounded translations require more effort.<br /> ==Meng Ying 孟莹==<br /> <br /> As in the translation from English into German, the brevity of Chinese words presents a problem which can hardly be solved, especially in the case of lyrics. One can just make contractions or e.g. to make one from two stanzas.<br /> <br /> Metaphors in Chinese usually have different meanings than in German; in Chinese, symbols, signs, quotations, and allusions are used more frequently than in German to make associations to other poems, historical events or persons.<br /> ==Mo Ling 莫玲==<br /> <br /> 3.3 Trend: Globalization simplifies translating <br /> Kubin complained in 1991,<br /> &quot;The average German translator of Chinese literature goes unprepared to work. He is neither trained as a translator, nor does he bring any experience with him. Even a most sympathetic criticism is usually closed, for the goal of having not translated it wrong seems to him the only and highest command, if attained. &quot;<br /> ==Mo Nan 莫南==<br /> <br /> However at the beginning of the 21st century the cultural embedding of the translation appears to be more consciously perceived:<br /> Due to the overlapping of the experience horizon by traveling and global media experiences, e.g. tragedies such as the tsunami in Southeast Asia, or Hollywood films, which are also known in China, literature is nowadays more easily translatable.<br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Some translators and perhaps even readers share the author's experiences, such as the events in June 1989 or alienation by the anonymisation of the urbanization, thus the cultural distance reduces.<br /> <br /> In particular, the backlog of Chinese intellectuals since 1917, which selected themselves national literature at first and translated what was just tangible, but then also the personal experience abroad of these intellectuals during their studies, which flowed into their works, made them to translators of a special kind of culture translators. The same may be true in the other direction for early translators like Franz Kuhn.<br /> ==Ou Rong 欧蓉==<br /> <br /> Edward Hall (Beyond culture) ordered in 1976 Chinese culture to be &quot;high-context cultures&quot; and the German to be &quot;low-context cultures&quot;. While the history of humanity worldwide is characterized by an intensified coding (documentation, digitization, information exchange, translation, etc.), which has become an overcoding of modern industrial societies since modernization, industrialization and the introduction of dual bookkeeping, at the same time it can be observed that there is a trend that the high-context cultures develop into low-context cultures.<br /> <br /> It remains to be noted that the convergence of the horizons of experience and the lifeworlds of the authors, translators and foreign-cultural readers strengthens the intersubjective traceability of the translator's and reader's recipe process. For the translator, the effort for the embedding of non-textual context is thus reduced in the present time.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> 3.4 Translators<br /> Florian Reißinger (The Family), Wolfgang Kubin (re-poetry), Wolf Baus (Taiwanese Lit.), Volker Klöpsch (Tang Poems), Ulrich Kautz (Modern Figures such as Wang Meng, Wang Shuo, Lu Wenfu, Yu Hua): Dream of the Red Chamber (Rainer Schwarz, Martin Woesler).<br /> Studies of translating with a literature part at the universities in Germersheim and Bonn.<br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 4. Literature recommendations<br /> 4.1 Bilingual literature (especially for studying sinologists): hardly available, only the following are known:<br /> 4.1.1 Lyric<br /> Reclam: Chinese Literature (out of print)<br /> Reclam: Chinese lyricism of the twentieth century (out of print, reissued in the European University Press as &quot;Bogenlinien&quot;)<br /> Arbeiterverlag: Black Suns (representative selection of German lyric, out of print)<br /> In collections (anthologies, magazine &quot;die horen&quot;) occasionally individual Chinese poems<br /> Pohl (eds.): Tao Yuanming<br /> <br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Interesting new releases are commented in e.g. minima sinica, ORIENTations, booklets for East Asian literature, Bulletin of the German China Association, magazine of the German Oriental Association etc.<br /> 4.1.2 Essays<br /> <br /> &quot;The Dragon&quot; (bilingual reissue to the book fair of &quot;Selected Chinese Essays of the 20th Century in Translation&quot;)<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> 4.2 Monolingual translations: literary lists of universities<br /> 4.2.1 University of Trier, reading list basic studies [Fats by me]<br /> 4.2.1.1 Philosophy<br /> Kungfutse [Kong, Qiu]. Conversations [Lunyu]. Assigned and published from the Chinese by Richard Wilhelm. Munich: Diederichs, 1990.<br /> Laotse [Laozi]. Tao-te-king [Daodejing]. The Book of Sense and Life. Translation and with a commentary by Richard Wilhelm. Cologne: Diederichs, 1985.<br /> * Schwarz, Ernst (ed. and trans.). Thus spoke the sage. Chinese ideas from 3 thousand years ago. Berlin: Rütten + Löning, 1986.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 4.2.1.2 Older literature<br /> Cao, Zhan [Cao Xueqin; Gao E]. The Story of the Stone [Hongloumeng]. A novel in 5 volumes. Bloomington: Indiana Univ. Pr. // A Dream of red Mansions. Beijing: Foreign Languages Press, 1978, 1980.<br /> * The Columbia anthology of traditional Chinese literature. Mair, Victor H. (ed.). New York et al .: Columbia University Press, 1994.<br /> ==Peng Xiaoling 彭小玲==<br /> <br /> Debon, Günther (trans.). Ein weißes Kleid, ein grau Gebände.. Munich: Piper, 1957.<br /> Debon, Günther (ed.). Mein Haus liegt menschenfern doch nah den Dingen. 3000 Jahre chines. Poesie.. First edition, Munich: Diederichs, 1988.<br /> Klöpsch, Volker (trans.). Der seidene Faden: Gedichte der Tang. Aus dem Chines. übertr. und mit einem Nachw. vers. von Volker Klöpsch. First edition, Frankfurt a. M. (i.a.): Insel Publishing House, 1991.<br /> Köser, Heide (trans.). Das Liederbuch der Chinesen [Shijing]. Guofeng. In a new German edition by Heide Köser. Philologically edited by Armin Hetzer. 1. ed. Frankfurt a .M .: Insel Publishing House, 1990.<br /> 京特·德博(Debon, Günther) (译.). 白色连衣裙, 灰色卷.. 慕尼黑: 派珀(Piper), 1957年.<br /> 京特·德博(Debon, Günther) (编辑.). 我的房子离人很远, 但是很近. 中国3000年. 诗歌.. 第一版, 慕尼黑: Diederichs, 1988年.<br /> 克洛普施·沃尔克(Volker Klöpsch) (译.). 丝线: 唐诗. 来自中国. 转自之后. 克洛普施·沃尔克(Volker Klöpsch). 第一版, 法兰克福(i.a.): Insel出版社, 1991年.<br /> 海德·科瑟(Heide Köser) (译.). 中国歌集《诗经》. 国风. 在海德·科瑟(Heide Köser)撰写的新德语版中. 由阿明·赫泽(Armin Hetzer)编辑. 法兰克福出版公司第一版: Insel出版社, 1990年.--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 14:52, 2 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> From the Chinese assigned by Franz Kuhn. Wiesbaden: Insel Publishing House, 1970. // The golden lotus. Transl. by Clement Egerton. London: Routledge &amp; Paul, 1972. // The plum in the golden vase, or, Chin-p'ing-mei. Transl. By David Tod Roy. Princeton: Princeton Univ. Press, 1993, 2001.<br /> <br /> Luo, Guanzhong. Die drei Reiche [Sanguozhi-yanyi]. Roman aus dem alten China. From the Chinese. By Franz Kuhn. 1. ed. Frankfurt a. M.: Insel Publishing House, 1981. // Romance of the Three Kingdoms. Transl. by C.H. Brewitt-Taylor. Rutland i.a. .: Tuttle, 1980.<br /> <br /> Schwarz, Ernst (Transl. And ed.). Der Ruf der Phönixflöte. Klassische chinesische Prosa. 2 volumes of Berlin: Rütten &amp; Loening.<br /> ==Peng Yuzhi 彭育志==<br /> <br /> Shi, Naian; Luo Guanzhong. Die Räuber vom Liang-Schan-Moor [Shuihu-zhuan]. From the Chinese assigned by Franz Kuhn. Frankfurt a. M.: Insel Publishing House, 1964. // Water margin. Transl. by J.H. Jackson. Hong Kong: Commercial Pr., 1979. // Outlaws of the marsh. Transl. By Sidney Shapiro. Bloomington: Indiana Univ. Pr., 1981.<br /> <br /> Wu, Cheng'en. Journey to the West [Xiyou-ji]. 3 vols. Transl. by W.J.F. Jenner. Beijing: Foreign Languages Pr. // Monkeys Pilgrimage. According to eng. Transl. by Arthur Waley assigned by Georgette Boner and Maria Nils. Munich: Hugendubel, 1980. // Monkey. - Reprint. Transl. By Arthur Waley. London, Unwin, 1979.<br /> <br /> Wu, Jingzi. The scholars [Rulin-waishi]. Transl. by Yang Hsien-yi. 3. ed. Peking: Foreign Languages Press, 1973. // The road to the white clouds. Stories from the scholar's forest. 2 vols. Munich: Beck, 1990.<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 4.2.1.3 Modern Literature<br /> Ba, Jin. Kalte Nächte [Hanye]. Novel. From the Chinese by Sabine Peschel. First ed., Frankfurt am Main: Suhrkamp, 1981.<br /> <br /> Ba, Jin. Die Familie [Jia]. From the Chinese. By Florian Reissinger. Berlin: Oberbaum Publishin House., 1980.<br /> <br /> * The Columbia anthology of modern Chinese literature. Lau, Joseph S.M .; Goldblatt, Howard (eds.). New York: Columbia University Press, 1995.<br /> <br /> Donath, Andreas (eds.). Die Drachenschnur. Geschichten aus dem chinesischen Alltag. Darmstadt i.a. .: Luchterhand, 1981.<br /> <br /> Fessen-Henjes, Irmtraud (eds.). 16 chinesische Erzähler. First ed.. Berlin: Publishing House Volk u. Welt, 1984.<br /> <br /> Gao, Xiaosheng. Geschichten von Chen Huansheng. Göttingen: Lamuv Publishing House, 1988.<br /> Hoffnung auf Frühling, 1919-1949. Frankfurt a. M.: Suhrkamp, 1980. (Modern Chinese Stories; 1)<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Hundert Blumen, 1949-1979. Frankfurt a. M.: Suhrkamp, 1980. (Modern Chinese Stories; 2)<br /> Jiang, Zilong. Alle Farben des Regenbogens. 1st ed. Beijing: Publishing House for Foreign Language Literature, 1989 (Phönix-Buchreihe)<br /> Kuo, Heng-yü (eds.). Der ewige Fluss. Chinesische Erzählungen aus Taiwan. Munich: Minerva publication Saur, 1986.<br /> Lao She. Die Stadt der Katzen [Maocheng Ji]. Frankfurt a. M .: Suhrkamp, 1985.<br /> Lao, She. Rikscha-Kuli [Luotuo Xiangzi]. A novel. From the Chinese assigned by Florian Reissinger. First ed., Frankfurt a. M.: Insel Publishing House, 1987.<br /> Lu, Wenfu. Der Gourmet. Translation and afterword by Stefan Hase-Bergen. Bochum: Brockmeyer, 1992.<br /> Lu Xun. Einige Erzählungen von Lu Xun. Beijing: Foreign Languages Press. Literature, 1976.<br /> Mao, Dun. Schanghai im Zwielicht [Ziye]. Frankfurt, 1985.<br /> Martin, Helmut (eds.). Blick übers Meer. Chinesische Erzählungen aus Taiwan. First ed., Frankfurt a. M.: Suhrkamp, 1982.<br /> <br /> Mo, Yan. The republic of wine. Transl. from the Chinese by Howard Goldblatt. London: Hamish Hamilton, 2000.<br /> Mo, Yan. Die Knoblauchrevolte. Novel. Ger. by Andreas Donath. Reinbek by Hamburg: Rowohlt, 1997.<br /> Mo, Yan. Das rote Kornfeld. Novel. Ger. by Peter Weber-Schäfer. Reinbeck: Rowohlt, 1993.<br /> Qian, Zhongshu. Die umzingelte Festung [Weicheng]. Ein chinesischer Gesellschaftsroman. From the Chinese assigned by Monika Motsch. First ed., Frankfurt a. M.: Insel, 1988.<br /> Wang, Meng. Kleines Gerede. Satiren aus der Volksrepublik China. Edited by Helmut Martin. Cologne: Diederichs, 1985.<br /> Wang, Shuo. Herzklopfen heißt das Spiel. Zurich: Diogenes, 1997.<br /> Wang, Shuo. Oberchaoten. Zurich: Diogenes, 2001.<br /> Yu, Hua. Leben! Novel. From the Chinese by Ulrich Kautz. Stuttgart: Klett-Cotta, 1998. [od25109]<br /> Zhang, Jie. Solange nichts passiert, geschieht auch nichts. Satiren. From the Chinese by Michael Kahn-Ackermann. Munich i.a..: Hanser, 1987.<br /> Zhang, Xinxin; Sang, Ye. Pekingmenschen [Beijingren]. Edited by Helmut Martin. First edition, Cologne: Diederichs, 1986.<br /> <br /> 4.2.1.4 Dramas<br /> Eberstein, Bernd (eds.). Moderne Stücke aus China. Frankfurt a. M .: Suhrkamp, 1980.<br /> Gao, Xingjian. Die Busstation. Eine lyrische Komödie aus der VR China. Bochum: Brockmeyer, 1988.<br /> Lao, She. Das Teehaus [Chaguan]. Mit Aufführungsfotos u. Materialien. Edited by Uwe Kräuter. Frankfurt a. M.: Suhrkamp, 1980.<br /> <br /> 4.2.1.5 Poetry<br /> Hsu, Kai-Yu (eds., transl.). Twentieth century Chinese poetry. An anthology. 1. print. Ithaca, NY: Cornell Univ. Pr., 1970.<br /> Kubin, Wolfgang (eds. and trans.). Nachrichten von der Hauptstadt der Sonne. Moderne chinesische Lyrik 1919-1984. First edition, Frankfurt a. M.: Suhrkamp, 1985.<br /> <br /> 5. Chinese bestsellers in China<br /> <br /> Authors: http://hi.baidu.com/%D1%A7%CF%B0%D3%C0%D4%B6%B2%BB%CD%ED/blog/item/661e76fad5b669ddb48f3190.html<br /> <br /> Translator workshops<br /> These workshops are mainly offered by foundations with literary support (Litprom, Robert Bosch Foundation). In the summer of 2008, a literary translator's workshop took place in Palatine Edenkoben. <br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> Chinese books in German translation: authors who are promoted from China<br /> <br /> Selection list of some Chinese literature events 2007-2009 (before the book fair):<br /> - 29 April 2008: Translator's pitch &quot;Rotes Kornfeld&quot;, German Publishers and Booksellers Association, Frankfurt<br /> - May 2008: &quot;Recommendation List of Chinese Contemporary Literature&quot; of the BIZ Peking<br /> - 7.-14.7.2008 &quot;German-Chinese workshop for Literature translators &quot;, Künstlerhaus Edenkoben<br /> - 22.4.2009 Lecture Ulrich Kautz Hamburg at the Confucius Institute: Chinese Contemporary Literature on the German Book Market - Opportunities and Problems<br /> - 22.4.2009 Lecture Prof. Dr. Wang Hongtu王宏图, Vice Director of the Confucius Institute Hamburg, &quot;Contemporary Chinese Literature: From Westernization to Chineseness&quot;<br /> - 27.6.2009 Symposium &quot;Chinese Literature in German Translation - China Honorary Guest of the Frankfurt Book Fair 2009&quot;, cf.: Symposium Volume &quot;, Bochum: European Universities Press 2010, ISBN 978-3-89966-293-1.<br /> - 12.-13.9.2009: Symposium in Frankfurt: First meeting of dissident writers and officials, leads to scandal and is a message in the television news, which also arouses interest in the book fair.<br /> <br /> Xu Zechen - Running Through Zhongguancun<br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;,<br /> The German reader as a tourist in Peking may have been approached like this by the flying merchants.<br /> &quot;Suddenly, two policemen emerge and they run, passing the southern gate of the Beijing University [...]. Breathlessly asked the friend ‚Shall we not throw the bag away? If one gets us together with the stolen property, there is really anger!’- But the policemen are just too fat, they should have held their bellies to run fast.&quot;<br /> This scene comes from the story &quot;Running Through Zhongguancun&quot; (C 2008, G 2009). Here the German reader can slip into the role of the seller for the first time, who is embodied by the 25-year-old Huang. Xu Zechen, 31, lives in Beijing, has created the milieu authentically, the characters with dry humor and yet refreshingly lively. He describes a life between hot pavement and basement hole, between the dream of making big money and bitter setbacks, the daily cat and mouse game with the police. He experiences the world of the crooks as shark pond and as a conspiratorial community, in which everyone gives the shirt off one’s back, lose their existence, but get up again, he experiences the arbitrariness and corruption of policemen. Here, worlds collide: the army of unemployed agricultural workers, who become small-scale criminals, and the urban population. The world of youth, who loves the freedom of the street, and the elderly, who appreciate the security of the wealth. This literature is one of the most recent and most promising stories from China, which shows us a completely different China than the perfectly staged one that the Olympia organizer presents.<br /> <br /> ==Sagara Seydou ==<br /> <br /> Full Text Xu Zechen: &quot;Running Through Zhongguancun&quot;<br /> <br /> Quote:<br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;<br /> <br /> Quote<br /> &quot;[...] Suddenly, two policemen emerge and they run, passing the southern gate of the Beijing University [...]. Breathlessly asked the friend ‚Shall we not throw the bag away? If one gets us together with the stolen property, there is really anger!’- But the policemen are just too fat, they should have held their bellies to run fast.&quot;<br /> <br /> Alai: Distant Springs<br /> &quot;When I was little, the old nomad Gongbosijia told me about a hot spring in a distant place. This spring became the quintessence of my childhood's longing&quot;, so the story &quot;Distant Springs&quot; (C 2005, Unionsverlag G 2009) begins by the Tibetan Author Alai, 50. The novel is written from the perspective of a Tibetan boy who prefers to take care on horses on the Tibetan mountain pasture rather than talking to the villagers in the valley. After hearing of the hot and healing springs, he longs to find them, because he does not feel at home in the village. He discovers his passion for photography and, as a young man, now a district photographer, actually penetrates the sources. Instead of the described springs by the nomad, he finds there an abandoned concrete landscape - a sign of a failed touristic planning.<br /> <br /> Yes, even Tibetan authors are among the winners of this year's book fair: They are particularly in demand by Swiss publishers. At the confederate Chinabooks, several young Tibetans are represented: Jamyang, Taering Öser, Tenzin Tsundue and Alai, who comes from northern Sichuan, and who had after his poems and stories a great success with his latest novel &quot;Red Poppies&quot;.<br /> <br /> Full text of Alai: Distant Springs<br /> http://book.kanunu.cn/html/2005/0828/979.html<br /> &quot;When I was little, the old nomad Gongbosijia told me about a hot spring in a distant place. This spring became the quintessence of my childhood's longing.&quot;<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> Yu Dan: Confucius from the Heart<br /> Yu Dan embodies a new type of female professor: Young (44), boyish, witty and funny - and her specialty is the 2,500-year-old classic &quot;Conversations&quot; of Confucius who was as basic to China as Plato for the West. She fetched the old text from the dust of her study room at the Beijing Normal University and moved into the spotlight of the television headlights. For seven days she was to be seen in state television with her lectures. Her illustrative elucidation of the moral principles on the basis of everyday examples from the present was the subject of discussion in 2006, which was discussed at work. She uses anecdotes and colloquial language. The teachings of Confucius are timeless, like &quot;Do not force anyone to do anything you would not want to do either.&quot; Her daughter would also learn a lot more while playing with bottle and lid than with expensive toys. &quot;Not everything from Confucius has yet to tell us something today, I grew up with Confucius and was brought up in a classical way and that makes me believe in myself.&quot; The book &quot;Confucius from the Heart&quot; emerged the second place on the bestseller list in 2007 with 503.000 sold copies. Meanwhile, she has reached the million, other statistics, which the author has not been able to confirm, speak of more than ten million of pirated material. <br /> <br /> And since the trend in China goes towards the second book, thia means, that a successful book is followed by a second similar one, she produced another commentary to the philosopher Zhuangzi in 2007. Yu Dan is so successful because she is both a Confucius researcher and an employee in the arts and media institute.<br /> <br /> 于丹：《论语心得》<br /> 于丹展现了新一代女性研究者的风貌：年轻（44），孩子气但又充满智慧，性格有趣。她学习孔子，也就是古代中国那位可以媲美西方柏拉图的智者，并专门研究2500年前记录下来的孔子经典语录。从北京师范大学中布满灰尘的书房里取得语录老本，她将之带到了电视荧幕中的聚光灯下，并连续七天开展讲座。2006年，她以日常事件为例，对孔子推崇的道德观念进行解说，这成为了年度话题，甚至工作时也被讨论。她口语化的语言写书，谈及轶事。孔子的教诲是永不过时的， 比如说那句“己所不欲，勿施于人”。她的女儿在玩瓶子和瓶盖时比玩昂贵玩具懂得更多。“并非所有孔子的思想有待在当下给予我们一些教诲，我从小就学习孔子，是在传统文化教育下长大的，这样的教育经历让我相信自己。”《论语心得》这本书在2007年的畅销书榜中排第二，销售量达五百三千万。同时，她成为了百万富翁，另有数据说她坐拥千万以上的财产，但后者并未得到本人证实。<br /> <br /> 自这本书掀起时代潮流起，不断有人对此模仿，于丹在2007年写了一部对另一位古代中国哲学家庄子的评论。于丹如此成功，因为她既是孔子的研究者，又是艺术和多媒体领域的宠儿。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 11:26, 2 October 2020 (UTC)<br /> <br /> 于丹：《论语心得》<br /> 于丹展现了新一代女性研究者的风貌：年轻（44岁），孩子气又充满智慧，诙谐风趣。她专研2500年前记录下来的孔子经典语录，这位智者在中国的地位可以等同于西方世界里柏拉图的地位。于丹从北京师范大学中布满灰尘的书房里取得语录老本，她将之带到了电视荧幕的聚光灯下，在国家电视台连续开展了七天的讲座。2006年，她以日常事件为例，在作品中对孔子推崇的道德观念进行阐述，这成为了年度话题。她以趣闻轶事和口语来写作。孔子的教诲是永不过时的， 比如说那句“己所不欲，勿施于人”。她的女儿在玩瓶子和瓶盖时比玩昂贵玩具懂得更多。“并非所有孔子的思想在当下仍具有教育意义，我从小就学习孔子，是在传统文化教育下长大的，这样的教育经历让我相信自己。”《论语心得》这本书在2007年的畅销书榜中排第二，销售量达五百三千万。同时，她成为了百万富翁，另有数据说她坐拥千万以上的财产，但后者并未得到本人证实。<br /> <br /> 在中国，一本书的畅销往往会带来第二本书，这意味着，一本书籍成功后，往往会有一本类似的后续--于丹在2007年写了一部对另一位哲学家庄子的评论。于丹如此成功源于她既是孔子的研究者，又是电影学院的教职工。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 15:01, 2 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> She likes to open theatrically an arbitrary passage in the &quot;Analects of Confucius&quot; and provides an improvised interpretation, like a modern preacher. This has also given her some criticism from Confucius researchers who see the historical context and political implications neglected in favor of a soft-washed, harmonious Confucianism.<br /> <br /> Why is Confucius so successful in China today? Yu Dan with the return to the common uber-father, certainly gives a new orientation in a disillusioned, materialistic time, as she herself says. In 1974, Confucius had been dismantled in a campaign and waved aside as &quot;conservative&quot; and &quot;overhauled&quot; in the last decades. Now, especially middle class and retirees discover Confucius new. Confucius is a cult, there is a whole advertising industry with devotional objects and sculptures, his place of birth Qufu is a place of pilgrimage and tourist magnet, cultural institutions all over the world bear his name since 2007. In fact, the Chinese also share Confucian values with other Asian countries: humanity, piety / loyality and social responsibility, and care of the fittest for the weaker.<br /> <br /> Does this popular scientific commentary literature also work in Germany, where one hardly knows the original texts? Droemer Publishing House took this risk, which put the translator Johannes Fiederling, whose first major literary translation it is, in special problems. As a solution, the publisher has announced that the original &quot;Analects of Confucius&quot; will be printed in the back of the book as soon as it enters the bookstores on the 21st of August, 2009.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Indeed Yu Dan stayed young, she likes listening to pop music by Jay Chow and &quot;Mother Nanquan&quot; and is the head of the &quot;I want fun&quot; club at the art and media institute of the Beijing Normal University.<br /> <br /> Yu Dan had certainly predecessors, for instance when modern writers such as Liu Xinwu or Wang Meng criticized the classic &quot;Dream of the Red Chamber&quot;. But she has found a series of imitators that deal with classical subjects - a nostalgic wave is currently swashing through China. In place of the reconditioned Communist ideology, the return to traditional values has taken place. Also on the bestseller lists this literature stands at the top.<br /> <br /> This nostalgia literature in China also includes comments on the classic novel &quot;Three Kingdoms&quot; (C 2006) by Yi Zhongtian (62), which ended up in 2007 with 340,000 copies on the third place of the bestseller list, the historical novel about the last imperial dynasty &quot;The Qing Prime Minister&quot; (C 2007) by Wang Yuewen (46) and &quot;War Drums in Beijing&quot; (C 2006) by Dou Liang (55) about old Beijing, all of them with at least 200,000 sold copies in 2007.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> Cao Xueqin: Dream of the Red Chamber<br /> The wedding is sealed, the veil is lifted - but not the beloved comes in sight, but a good friend. This is the key scene in China's most famous novel &quot;Dream of the Red Chamber&quot;, which leads the eternal bestseller list and is for the first time completely in German available. He abducts the reader into a largely untouched, authentic China: the one of the last imperial dynasty 250 years ago. He describes the life at the imperial court like the one of the servants, it is at the same time a soap opera,a generation novel, a crime novel, a love story and a Buddhist parable.<br /> <br /> The author writes so poignantly, because he describes his own life. In a paradise-like garden, he and his twelve cousins grow up carefree, with two developing a triangular relationship. But the large family falls apart, the cousins marry and leave the garden. The tide is turning only when the protagonist passes the examination of officials. In the novel, the Emperor is impressed and returns titles and countries, in real life the author receives a modest pension, writes to the novel until shortly before his death and dies as a hermit.<br /> <br /> In China the novel has become immortal with numerous book editions, film adaptations and own research tradition. The upcoming re-filming was a casting event. Every Chinese knows the main characters of the novel and can name their favorites.<br /> <br /> 曹雪芹：《红楼梦》<br /> 订了婚，掀起盖头---呈现在眼前的不是心爱的那个人，而是一位好朋友。这是中国颇具盛名的小说《红楼梦》的经典场景，这一幕使得这部畅销书经久不衰，也让这部小说第一次在德国全本出版。他使读者认识到一个地域辽阔、未经踏染、原汁原味的中国：250年前的最后一个封建王朝。他描写得宫廷生活，好像他就是其中的仆人。此外，这部小说还是一部肥皂剧、一本古代小说、一部犯罪小说、一个爱情故事和一个佛教寓言故事。<br /> <br /> 作者写得如此令人感伤，是因为他在描写自己的亲身经历。在天堂般的乐园里，他与十二个姐妹无忧无虑地长大，与其中两位发展了一段三角恋关系。然而随着姐妹们远嫁他乡，这个大家庭变得四分五裂。小说的高潮在主人公通过科举考试时展开。小说中，皇帝深受感动，赏赐了头衔和领地。而现实中作者隐居生活，领着微薄的抚恤金，一直到去世前不久还在写小说。<br /> <br /> 在中国，这本小说流传至今，出了许多版本，改编成多部电影，形成了自己的研究传统。即将翻拍的电影一直在挑选演员。每个中国人都了解小说里的主要人物，能说出他们的喜好。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 16:25, 2 October 2020 (UTC)<br /> <br /> 曹雪芹：《红楼梦》<br /> 拜完堂，掀开盖头，却发现眼前之人不是自己心爱之人，而是一位好朋友，此乃中国颇负盛名的小说《红楼梦》的名场面，情节之跌宕让该经典名著经久畅销，也让这部小说第一次在德国全本出版。曹雪芹让读者看到了一个地域辽阔、未经踏染、原汁原味的中国，那是250年前最后一个封建王朝之一。他描写的宫廷生活惟妙惟肖，仿佛自己以仆人的身份感受过一样。该作品既是一部言情肥皂剧、一部清代小说、一部犯罪小说，也是一个爱情故事和一个佛教寓言故事。<br /> <br /> 作者笔下的文字是如此令人伤感，因为他描写了自己的亲生经历：在一个天堂般的乐园里，他与十二位表姐妹们一起长大，过着无忧无虑的生活，还与其中两位发展了一段三角恋的关系。但是后来随着这些姐妹们远嫁他乡，这个大家庭变得四分五裂。这一反转在主人公中举入仕后开始展开。小说中，皇帝为之动容，赐予了主人公头衔和领地。然而在现实生活中，作者远离尘世，领着微薄的抚恤金，直到去世前不久还在坚持写作。<br /> <br /> 在中国，《红楼梦》历久弥新，经过无数版本的传承，电影的改编，还拥有了独特的研究领域。影视工作者们还一直为该作品即将再一次的搬上荧幕而挑选角色，因为每位中国人都对小说里的主要人物有所了解，并能说出自己在书中喜欢的角色。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 04:41, 3 October 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Yu Hua - Brothers<br /> The Beijing Yu Hua was always smiling, always a joke on the lips, but also always a cigarette in the mouth. He has written the sketchy novel &quot;Brothers&quot;, which will be available in German at the book fair.<br /> <br /> Yu grew up in the country during the cultural revolution. Instead of school lessons, there were denunciation wall newspapers. In this he recognized the power of language and decided to write. He learned from idols like Kafka, Borges and García Márquez to incorporate the fictional into his short stories, but also sex and violence and so he quickly became famous. He wrote one decade at a historical novel, but abandoned it when he saw the extreme changes in China to capture these opposites with the novel &quot;Brothers&quot;.<br /> <br /> The father of the two brothers, who Yu describes, got killed by the masses in the cultural revolution. The two brothers could hardly develop more differently: The younger brother, Li Guangtou, had been successful with beauty contests for virgins and the sale of used Japanese suits. The older one, Song Gang, works in a public corporation and believes he has a crisis-proof job until he gets discharged. Now he is also trying to be an 'entrepreneur', he lets his breast enlarge surgically to sell peasant gel, which should supposedly enlarge the breast However, he fails and commits suicide.<br /> 余华-《兄弟》<br /> 余华先生是纯正的北京人，他总是以微笑示人，谈吐也十分幽默，嘴里常常叼着一只香烟。他已经完成了小说《兄弟》的手稿，其德语版即将在书展上出售。<br /> 余华于文革时期在农村长大。当时学校里不上课，整天贴大字报搞批斗。从中他认识到了语言的力量，并决定写作。他从偶像卡夫卡，博尔赫斯和加西亚马尔克斯身上学到了将虚构，性和暴力融入自己的短篇小说中，因此他很快就成名了。他用十年写了一部历史小说，但当他亲眼目睹中国的极端变化后，他放弃了这部小说，转而创作小说《兄弟》来表现文革前后的巨大变革。<br /> 据余华描述，这两兄弟的父亲在文革时被群众杀害，他俩的发展也完全不同：弟弟李光头在处女选美比赛和二手日本西装的销售上获得了成功。哥哥宋刚原来在一家上市公司工作，他认为自己的工作是“铁饭碗”，可后来还是被解雇了。现在他正努力成为一名“企业家”，为了卖丰胸膏，他还做过隆胸手术。然而他的创业最终还是失败了，之后他便自杀了。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 12:39, 2 October 2020 (UTC)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 12:39, 2 October 2020 (UTC)<br /> 余华-《兄弟》<br /> 生活在北京的余华脸上常挂着笑容，嘴里总讲着段子，也常含着一支烟。他已经完成小说《兄弟》大概内容，德语版将在书展上出售。<br /> 余华在农村长大，当时正处于文革时期。学校不开课，整天贴大字报搞批斗。他从中认识到了语言的力量，并决定写作。从偶像卡夫卡、博尔赫斯和加西亚马尔克斯身上，他学会如何把虚构、性和暴力融入自己的短篇小说中，很快，他就因此成名了。他用十年写了一部历史小说，但当他亲眼目睹中国的剧烈变化后，他放弃了这部小说，转而创作小说《兄弟》来表现文革前后的巨大变革。<br /> 据余华描述，这俩兄弟的父亲在文革期间被人们杀害。兄弟俩的发展完全不同。弟弟李光头举办了处美人大赛，买卖二手日本人西装，都获得了成功。哥哥宋刚原来在一家上市公司工作，他认为自己的工作是“铁饭碗”，可后来还是被解雇了。现在他正努力成为一名“企业家”，为了卖给农民丰胸膏，他还做了隆胸手术。然而他的创业还是以失败告终，之后他便自杀了。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 01:46, 3 October 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Mo Yan: Sandalwood Death<br /> Mo Yan takes us with his Sandalwood Death (C 2001), which will be published at the book fair, to the German colonial history in China, with railway construction and the Boxer Rebellion,. Mo Yan describes a fictitious story in which Guomindang General Yuan Shikai, with the last imperial headman, wants to achieve a cruel execution by torture against a man who rebelled after his family had previously been desecrated and killed by Germans. Contrasted with this, Mo Yan portrays the last opera singer of the Maoqiang local opera from Gaomi. The language is pathetic, symbolic and emotionally charged. The description of the inner conflict of the physician, who has to keep the victim alive until the German colonizers see him, is shattered. His only advice &quot;Remove the Sandalwood!&quot; is not followed, since this is precisely the torture. Mo Yan is also represented at the book fair with the further masterpiece &quot;Der Überdruss&quot;. In his afterword which is not reprinted he writes: &quot;A great novel can not sacrifice its own dignity due to the fact that it wants to appeal to a sensuous, pseudoemotional age. It can not, in order to meet the wishes of some readers, save length, reduce the density of action, or lower the degree of difficulty. I want it clearly long, thick and heavy. Whoever wants to read it, read it, whoever does not, leave it alone! [...] Even if only a single reader remains to me! So what? I am not writing a different character. &quot;<br /> <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Interview with Mo Yan<br /> On the occasion of a symposium in the run-up to the Frankfurt Book Fair, Martin Woesler interviewed Mo Yan on Saturday, September 12th, 2009, 9.30-9.50 am Mo Yan, who is in addition to Yu Hua one of the candidates for a Nobel Prize in Literature.<br /> <br /> Question: You are a participant of the official Chinese authors delegation who visits Germany during the Frankfurt Book Fair and know Germany from previous visits. How do you perceive as a Chinese the German culture compared to other cultures you have met, like the American?<br /> Answer: Due to the rare and short visits I can not judge. But if you ask me about my impression, I have a different feeling in America than in Germany: In the United States, I have the impression that culture is less the essence of life than in Europe. I am lacking the thoughtfulness. On the other hand French culture appears closer to the Chinese, so I am much translated in French.<br /> <br /> Question: You come from Gaomi, where the Germans had an inglorious past as colonial lords. This is the topic of your novel &quot;Sandalwood Death&quot;. Have you forgiven the Germans?<br /> Answer: In the novel, I overdraw the Germans with their goose step as the epitome of the colonial lords, which is of course grotesque and purely symbolic. To the Germans I have no resentment. I really like to be in Germany, now I am here for the fourth time. I was particularly impressed by the harbor of Hamburg. You should not be surprised if the harbor of a Chinese city, which I describe in my next novels, is somehow familiar to you.<br /> <br /> Question: What are your concrete plans for the book fair?<br /> Answer: After the symposium, I will be flying back and return from 11th to 31st October 2009 in order to participate at the book fair and to do a reading tour. I will also read in Munich, your colleague Martina Hasse knows the dates.<br /> <br /> Question: What can we expect from Mo Yan in the future?<br /> Answer: I am writing a new novel, which will appear in November.<br /> <br /> Note: A manifesto of the author is the afterword to the novel &quot;Der Überdruss&quot;. This statement is published in the following book, translated by Martina Hasse: Chinesische Literatur in deutscher Übersetzung - China Ehrengast der Frankfurter Buchmesse 2009 / Symposiumsband, Bochum: European University Press 2010, ISBN 978-3-89966-293-1.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> From the &quot;evil girl&quot; to the &quot;cult figure&quot; of the Chinese contemporary literature - Mian Mian<br /> Mian Mian has influenced the young generation of the Shanghai women with her underground literature<br /> <br /> See also my similar essay on Mian Mian in: &quot;Chinese Literature in German Translation - China as the Honorary Guest of the Frankfurt Book Fair, Symposium Volume&quot; 2010.<br /> <br /> Photo: Yiqing Liu<br /> <br /> Mian Mian stands on the terrace of the cult bistro &quot;M on the Bund&quot;. She looks at the colorful lights of the &quot;Bund&quot;: houses in colonial style line up to Shanghai's harbor line. A gentle gust of wind blows a strand of her face, she looks a little defiantly into the skyline: &quot;Here we celebrated wild parties!&quot; Of course, it did not cost anything at that time - she knows the owner of this cult bar and also from the other trendy bars here in the proximity - all foreigners.<br /> <br /> The colorful skyline stands for a vibrant metropolis that is Mian Mian's life. Her books are a tribute to a city that has always been more modern than the other Chinese cities. And Mian Mian has breathed a soul into this city, the soul of youth, open-mindedness and culture of fun. In the socialist China she was a scandal, her literature was forbidden. And yet she was printed in Hong Kong, her texts appeared on the Internet and were sold under the shop counter. She was the insider tip of the underground literature.<br /> <br /> A whole generation of young girls wanted to be like Mian Mian - celebrating wildly, trying out all the forbidden things: free love, alcohol, drugs. Where Mian Mian was, the underground culture was at home, a party was only hippy when she appeared. Sometimes she organized events and performed as a DJ. She has become much more than an avant-garde writer, she has become a cult, a lifestyle. Now the censorship has been lifted and her four novels appeared in February, the first edition of 200,000 copies already sold out in March.<br /> <br /> Her latest novel, Panda Sex, is not really a novel, but a simple chronicle of her life. For this purpose the tireless partygoer took a few years ago a mini-recorder with her and recorded the sometimes irrelevant partly profound conversations of her friends. Time and again the talks deal about relationships and true love. To write down these recordings and compose a novel from it, fascinated her for more than five years, made her &quot;addicted&quot;, as she says. The book did not let go of her. At that time, she could not write nothing else, she was &quot;dependent on writing&quot; &quot;like a drug addict on the junk&quot;. In fact, she is once again experiencing her wild youth with this novel.<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> Also the characters exist: the male bear features of Mian Mian's partner, herself slips into different female figures. And at the end of the novel she reveals another secret about déjà vus and change of roles about the novel itself.<br /> <br /> It was not until the reworking of the novel that Mian Mian left her wild life behind. Since two years the authoress has abjured the nicotine, the alcohol and the soft and hard drugs of her youth, became a vegetarian and Buddhist, but she is not &quot;clean&quot; yet, her new drug is writing. &quot;My life has run through a transformation from dependence to the danger of self-destruction to self-realization and the readers can experience this journey in my literature.&quot;<br /> <br /> Her books are now available in China. &quot;And I'm very happy about that,&quot; she says brightly. There is a bit of a malice about the censors who had never understood the novels anyway, and a bit of defiance, the feeling of finally getting a piece of the Chinese economic miracle, which was officially only two years kept back, but actually nine years, namely from April 2000 to February 2009, by revenue of the sold books. In fact, the 20,000 copies of Panda Sex, which arrived in China in February, were already out of print the same month. Also her other three books with 20,000 copies, summarized in Germany in the two books &quot;La la la&quot; and &quot;Your Night, my Day&quot; are sold out. Mian Mian is in her favorite underground bookstore Jifeng and calls with her mobile phone impatiently after the reprint. In the middle of this buzzing, hectic, commercial shopping life of this corner, the approximately 300 square meter bookstore near the &quot;Maoming nanlu&quot; in a subway station of line 2 is an oasis of calm. There are seating possibilities, the books are divided into groups, translations from English are selling by the pile.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> The contrast between the never full partygoer of the 1990s and the writer today could hardly be bigger. In January 2009 she was in Paris and presented the French edition of Panda Sex. There it was celebrated by the young journalists. She flirted with them, especially with the one from &quot;Le Monde,&quot; who wrote a fantastic critique of Panda Sex. With Panda Sex, she had created a living literary monument, a modern work of art.<br /> <br /> &quot;Panda Sex&quot; as a contemporary novel is highly controversial in-country and abroad, possibly the most controversial novel at all. Mian Mian is absolutely convinced of her novel: &quot;Of course China was not ready for my novel when I wrote it, hence the censorship. The old books of mine are in the style of the 1990s. I've tried to write Panda Sex as one will write in the future. &quot;<br /> <br /> Now Mian Mian wants a part from the Chinese economic miracle. What does she do when she comes into money? &quot;A movie! That would be the greatest! &quot;This is the only thing that can be made meaningful with a lot of money. In fact, the novel Panda Sex reads like a French black and white film. Dialogues, only interrupted by short stage instructions. The French film studio Anna Sanders wants to make the novel into a film, Mian Mian has agreed to direct it.<br /> <br /> Mian Mian leads me to the original settings of her novel. And not only the places exist, but also the stories happened as described. Today's Shanghai presents itself as a large construction site in preparation for the Expo 2010. And this Shanghai she has loved, lived, lived to the excess. But the places she leads me are no cheap nightclubs, no wicked bars, but trendy restaurants, elegant joints involving terraces with view in which the decadence of the century's turn is palpable. Even in the revolutionary nostalgic &quot;YYs&quot; for tourists, a bottle of champagne costs 965 yuan (over 100 euros).<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> The &quot;Jean George&quot; at the center with its high ceilings, the dark wooden floors and walls, the mirrors, the somewhat musty velvet, stucco and reddish twilight seems to come from the Europe of the 1910s. Busy waiters in tails dart back and forth, the cocktails are priceless. But it is not Europe, it is Shanghai. And it is not the 1910s, but exactly a century later. In the 1990s, the trendy get-together was prosperous. The bar is still popular today, but it is ghostly empty. Here is a fin-de-siècle mood nearly tactile. The restaurant is owned by Jean George, a star cook who happened to be at his restaurant that evening but is mostly in New York. Here she has recorded the monologue about Bruce Lee by Andrew Bull, which appears in the novel in the first part, chapter five.<br /> <br /> Mian Mian is also surprised at how much the global economic crisis hit Shanghai. Even when she drives by taxi through the nocturnal, almost deserted Shanghai, she feels strange in her city, in the city where she has spent her entire life: &quot;The breath of the financial crisis pushes people from the nightlife into the bedrooms.&quot; This empty Shanghai frightens her. But Shanghai will recover from the financial crisis faster than other cities.<br /> <br /> In the novel Pand Sex, she describes the 16 million metropolis by the Yellow Sea like this: &quot;Do you know what is missing in Shanghai? The sea. [...] Shanghai is really a village.&quot; Incomparably, finally, the metaphorical description of the city: &quot;Those souls penetrate the nightly Shanghai. The pallor and emptiness are invariable. Under the sound of water scooped with bamboo baskets and leaves that are kinked, mix the sounds of cheeky and honeyed steps. Those famous streets seem like concubines in the harem, who are always ready for the favor of their ruler. These streets are crossed by the foreign concession areas, the modern dance halls, which have given up the hope for better times, the theaters, the horse betting agencys and cafes. They pass tired heroes and a population in a nightmare. They wash up from the river. Shouts like from a lonely phoenix, light reflections like a jade teapot, a sight that goes into marrow. Women with delicate and fragile posture, a skin like frozen fat, faces like the full moon. The behavior of the men is similarly trained, their character is profound, they have received the baptism of literature and art, but do not want to play the hero. The streets cross the Waipo Bridge, come closer to each other at the Broadway Mansion, climb the stairs step by step, with smooth walk, the wobbling of the butt is charming but elegant and fulfills the expectations. Their misfortune is their destiny, they have never really believed in their destiny. Finally, with an expression that is utterly unbelievable, they appear in candlelight, they have always known to hide their feelings well. They never bring anything directly to light, they do not trust anyone. &quot;<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> The German Sinologist Wolfgang Kubin, who was awarded with the Chinese State Prize and the Pamir International Poetry Prize, described her works as &quot;garbage&quot; in 2006. Of course, Mian Mian is not the new Lu Xun or the new Zhang Ailing.<br /> <br /> Mian Mian at the &quot;M on the Bund&quot; restaurant in March 2009 in front of the Shanghai night club: Panda Sex has been completed.<br /> Photo: Martin Woesler<br /> <br /> She also does not represent the mainstream, but was known at the age of 17 through her breach of taboo to write about her own life of sex, drugs, alcohol and rock'n roll. As a &quot;bad girl&quot; with a &quot;talent to burn anger&quot;. She has been translated into more than 10 languages and is perhaps the &quot;most promising young writer&quot;, as the International Herald Tribune wrote on 2/8/2001, &quot;she touches the core of the experiences of her generation with her themes of sex, drugs and China's opening policy&quot; . &quot;Der Spiegel&quot; described her as &quot;China's most talented writer&quot;. The novel &quot;Candy&quot; was a bestseller under the shop counter and became a classic of youth literature. Herself appears in the novel Pandasex and expresses herself thus: &quot;Great art is like the bright moon in the night sky. He enlightens the world, but he does not light himself. His glow is only borrowed by the hidden self-luminous sun. Art has helped many people to catch a glimpse at the meaning of life. Art has invisible, sacred origins and sacred goals. It makes people recognize their true nature and their place in the cosmos. It helps people to always recognize the meaning and value of their lives again and like for the first time, and the unlimited possibilities that it offers. But many modern art has lost this insight and is therefore a prisoner of its self-imposed limitation.&quot; Whether Mian Mian's literature belongs to the rubbish heap or to the hall of fame of World Literature can only one decide: the reader himself.<br /> <br /> Is the taboo-less party girl Mian Mian dead like Little Beetle in the novel or like her friend in real life, what brought her to writing? In the novel she shines at us out of her big beautiful eyes, a whole generation of Shanghai's beauties cites her night by night. However this fan base has also become a rivalry, as can be seen in the mask-like description of the 50 girls at the gamble in the first chapter of the first part. And what does the 38-year-old think about it, who has become a little bit chubby since she quit smoking? She bought herself a swim card and says, &quot;The number of small Mian Mians has exploded! In Shanghai you can only survive if you are slim. I just have to do a little diet, then I can go back into the jet set life - because there is only one real Mian Mian! &quot;<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> Mian Mian: Panda Sex – Alternative beginning of the novel<br /> <br /> 1. Mián Mián棉棉 »Panda Sex« 熊猫. Prohibited in the People's Republic of China. Published in revised version 2/2009, 1st edition immediately out of print.<br /> German translation by Martin Woesler in cooperation with Lihua Ji, Kiepenheuer &amp; Witsch 2009.<br /> Published in Chinese: 12/04, 181 pp., Massenverlag Publishing House<br /> Rating: 1.3.<br /> Scandal book about a Shanghai love affair in free love. (cf .: La la la, Candy, Your Night my Day, cf.: Wei Hui Shanghai Baby)<br /> <br /> The title is based on the rare pairing behavior of the panda bears, which is compared with the figure &quot;older sister&quot; by her younger sister. The novel is written as a drama, with brief stage directions, which draw a painting of the mood, and then the lively, colloquial/juvenile dialogues. The dialogues get very curious, but they remain entertaining.<br /> <br /> The extract of translation is based on an older Chinese edition of the novel, as it was on the Internet in 2008. Meanwhile the novel by Mian Mian has been significantly modified for the German reader and will be published in August 2009 by the Publishing House Kiepenheuer &amp; Witsch.<br /> <br /> Critical links to the book fair<br /> http://www.de-cn.net/mag/bli/lit/deindex.htm: Many background articles on the Chinese literature and the Frankfurt Book Fair 2009.<br /> On this very informative website you will find independent information about the book fair. Even voices that criticize the book &quot;Wolf Totem&quot; find a place, which was hyped with a considerable amount of marketing effort by the publisher.<br /> <br /> German-Chinese culture network: http://www.de-cn.net/<br /> A wonderful institution, supported by the Goethe Institute (here the driving force Michael Kahn-Ackermann) and the Robert Bosch Foundation. Numerous recent Chinese contributions appear in excellent German translation (Julia Buddeberg, Andrea Schwedler), e.g. the interview with Liu Zhenyun in as a liberal known South Chinese weekly newspaper about the loneliness of the Chinese and its statement &quot;One sentence weighs more than 1000 words&quot;<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Chinese books in German translation: Authors who are read in China<br /> <br /> http://litprom.de contains a database for Chinese literature in Germany<br /> <br /> On the website of the Buch-Informations-Zentrum (BIZ) (book-information center) Beijing http://www.peking.buchinformationszentrum.org/en/ is a database &quot;deyu zhongwen ku&quot; with 700 German titles in China<br /> <br /> On the website of Frankfurt Book Fair<br /> http://www.buchmesse.de/en/fbm/programm/ehrengast/2009/01145/index.html: the following books can be found (Effective: 4/30/2009, p.r.n. the information is updated and expanded in the meantime).<br /> <br /> Listed authors are:<br /> Annie Baobei 北京<br /> Jia Pingwa / ao 西安 西安 (born 2/21/1952, lives in Xi'an)<br /> Jiang Rong姜戎 北京 (born 4/1946)<br /> Liu Zhenyun北京 (born 5/1958)<br /> A Lai Alai阿来 成都 (born 1959, lives in Chengdu)<br /> Mo Yan莫言 (born 2/17/1955)<br /> Bi Feiyu毕飞宇 &quot;平原&quot; 江苏 (born 1/1964)<br /> Yu Hua余华 杭州 (born 4/3/1960)<br /> Yang Jiang杨绛 听说在北京 (born 17.7.1911)<br /> Yu Dan北京 (born 6/28/1965, lives in Beijing)<br /> <br /> Belletristic titles (end of April)<br /> Alai [阿来, Tibetan writer]<br /> Distant Springs<br /> From the Chinese by Marc Hermann<br /> Unionsverlag - ISBN 978-3-293-00405-4<br /> <br /> Bei Dao<br /> The Book of Defeat <br /> From the Chinese by Wolfgang Kubin<br /> Hanser - ISBN 978-3-446-23283-9<br /> <br /> ► Survey and Review: Bei Dao's poems - formed as exile literature in the USA - <br /> mainly use paradox as stylistic device. This, he says, is the only way for him<br /> to discover the world in its inconsistency. By analyzing his life poetically the story has one´s say: the dispersed illusions of a poet, who has dreamed of another better world.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> Feng Li<br /> Translated by: Ulrich Kautz<br /> East Asia Publishing House - ISBN 978-3-940527-14-1<br /> ► The novel is ironically telling the story of a middle-aged man, unhappy<br /> married, impotenet, with sparse hair growth, who decides in the mid-nineties of the 20th century,<br /> as the head of a &quot;Research Institute for Culture&quot; in a Chinese provincial city,<br /> to achieve something at least once in a lifetime, which matches to his principles and desires at heart,<br /> but however enmeshes himslef in a farce, of which end he<br /> no,<br /> is not quite empty-handed,<br /> but, at least! found the woman of his life, an equally prim and unconventional also<br /> intelligent and lovable personality.<br /> <br /> Guo Xiaolu<br /> From the English by Anne Rademacher<br /> Knaus - ISBN 978-3-8135-0353-1<br /> ► On a hot summer afternoon in the year 2012 the young countrywoman Kwok Yun sees a strange flying disk at the sky. Shortly thereafter she finds an injured stranger in the rice field to whom she administers first<br /> aid. On the same day, the stranger disappears again, instead two secrect-service agents appear:<br /> They want to get to the bottom of the strange UFO phenomenon. A<br /> inspection machinery overflows the inhabitants of the village. Everything and everyone is checked. On the peak of the hysteria arrives a check over $ 2,000, which was sent by the rescued foreigner from America. The money of the class enemy is finally disbalancing the life in the poor village. Three years after the sighting of the UFO the once idyllic peasant areas has become a booming economic region in where only money matters. A political parable about past, change and loss.<br /> <br /> <br /> ==Wang Yuan 王源==<br /> <br /> Ha Jin<br /> From the American English by Susanne Hornfeck, Sonja Hauser<br /> Ullstein - ISBN 978-3-550-08723-3<br /> ► The Chinese student Nan Wu and his wife Pingping decided in the summer of 1989, briefly<br /> after the events on the Tiananmen Square, to stay in the USA and to begin a new<br /> Life. It should only be a study stay, but with each year in the US rises<br /> the anger on the political conditions in the distant home. Finally they are allowed to take their<br /> six-year-old son Taotao to them, who quickly gets used to the new environment. However Nan <br /> dreams of being a great poet, and has a rough ride: he is plagued by guilt feelings towards<br /> his wife, whom he feels more solidary related to her than in love because can not forget his <br /> love of his youth Beina; also the responsibility to allow his family a <br /> secure livelihood. For over twelve years we accompany as the readers the everyday life of the family Wu, their<br /> daily struggle for homeland, love and happiness. Side by side they grow dear to our hearts because our<br /> own dreams are reflected in their dreams.<br /> <br /> Hong Ying<br /> From the Chinese by Claudia Kaiser<br /> Aufbau - ISBN 978-3-351-03269-2<br /> ► In the year 1907 - the Qing dynasty still reigns in China - Cassia, a poor orphan girl<br /> from the country, is sold from her uncle to a famous brothel. Although she can not fulfill the ideal of beauty of the era, <br /> she becomes the mistress of Master Chang, the leader of the dreaded triad of Shanghai.<br /> After his assassination remain two ways for her: a life in humility and self-denial, or one<br /> full of pomp, power and passion. Hong Ying describes the rise and fall of a confident woman,<br /> who went down in history as a famous concubine and godmother of Shanghai.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> Li Dawei<br /> From the American English by Anne Rademacher.<br /> With comic drawings by Sheng Tao<br /> Knaus - ISBN 978-3-8135-0336-4<br /> ► 4th June 1989: The student riots culminate in the form of the massacre on the Tiananmen Square. The art student and comic artist Dawei, actually a non-political<br /> loner, who is opposed to every form of collectivism, loves the student leader Little Kim. As he is looking for her <br /> in the turmoil on the Tiananmen Square, he finds himself in the riot , and experiences the bloody downfall.<br /> He does not find Kim, but instead a rather distracted cat, which he takes <br /> Home. One evening the cat begins to speak. He has great plans and wants to be a comic star in<br /> the USA. And in fact he succeeds to do a trip to Hollywood. Dawei stays home, beats his way through life with different jobs and escapes again and again into his comic dream worlds. Finally he follows his cat, hoping to find again his great love Little Kim in America. But the<br /> &quot;Golden West&quot; holds a nasty surprise for him: Haohao is abducted, and suddenly <br /> Dawei finds himself as a protagonist of a superhero comic.<br /> <br /> Li Er<br /> From the Chinese by Thekla Chabbi<br /> Klett-Cotta - ISBN 978-3-608-93794-7<br /> <br /> Li Tai-bo<br /> Poems<br /> Translated by: Günther Debon<br /> Reclam - ISBN 978-3-15-018675-6<br /> <br /> Li Yiyun<br /> From the American English by Anette Gruber<br /> Hanser - ISBN 978-3-446-23421-5<br /> ► The inhabitants of a small provincial city near Beijing set off for an important <br /> event - a young woman should be executed. Her crime: she, who was during the cultural revolution<br /> one of the most fanatical Red Guardists, has recant Communism. Her mother performs <br /> defiantly the traditional rituals for the dead, while Shan's father, a subtle intellectual, has long ago given up on <br /> his daughter, who brought so much misfortune to others. Both do not sense which<br /> far-reaching consequences this death will have. For example for Kai, the radio announcer, who <br /> is the voice of the party in public, but by now doubts about what she is doing. For the<br /> crippled Nini, who is held like a slave in a household of nothing but girls. For the<br /> little Tong, who is neglected by the parents and is only loved by his dog.<br /> The novel draws a microcosm, which offers a plastic image of China in the late 1970s.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Liao Yiwu<br /> From the Chinese by Hans Peter Hoffmann, Karin Betz and Brigitte Höhenriede<br /> Fischer - ISBN: 978-3-10-044812-5<br /> ► A prostitute, a Buddhist abbot and the manager of a social institution<br /> Falun Gong supporter, a former Red Guard and a Feng Shui Master - she and many others<br /> Liao Yiwu, one of the most famous authors of China and himself a former political prisoner, asked them all with respect,<br /> empathy and humor about their lives and their hopes.<br /> These unique conversations let us discover a China that we can not see anywhere else<br /> - a China of the outcasts, homeless, beggars and street musicians, whose<br /> Dignity, wit, and humanity could not be charged by anyone. <br /> <br /> Liu Heng<br /> From the Chinese by Ingrid Müller and Zhang Rui<br /> Hanser - ISBN 978-3-446-20534-5<br /> ► The servant never forgot the moment when he first saw the bride of the young Mr. Cao:<br /> during pouring rain, she got out of her red litter, and though he had only seen her too big feet,<br /> he fell in love forever. The future spouse has different sexual inclinations, but the<br /> strange guest, whom he brought from abroad, is feeling the same as the servant. The<br /> French engineer should actually install a matchmaker factory in the Chinese province,<br /> but the young Mr. Cao experiments secretly with explosives instead of matches. The older<br /> people do not care about the welfare of the house - the father always tries the<br /> most odd remedies, the mother has retreated as a Buddhist hermit - and therefore<br /> the eldest son rules with an iron fist over the degenerate extended family. These hustle and bustle is observed by the young servant, who is also witnessing what is going on in the joints by the river,<br /> in the brothels and the tea houses.<br /> In the Middle Kingdom dominate famine and<br /> civil wars, the old order is breaking, and lords and servants are sucked into the whirlpool of these events.<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Liu Zhenyuns (51), who was ranked No. 1 in China's bestseller list in 2008 - a mix-up thriller about a confused bag, whose content can become dangerous for some important people.<br /> <br /> Liu Zhenyun<br /> From the Chinese by Marc Hermann<br /> DIX Publishing House ISBN 978-3-941651-01-2<br /> ► As Liu Yuejin’s , a good-natured and naive cook on a Beijing construction site, money bag is<br /> stolen, a world collapses for him. In it were cash and a promissory note for buying himself <br /> a small restaurant and making himself self-employed. The victim goes on a chase for<br /> his bag - a hunt that takes him deeper and deeper into the local underworld.<br /> Instead of his own, he gets to another stolen bag, which belongs to a formerly multi-million dollar now heavily <br /> indebted construction entrepreneur, and contains a memory stick with highly volatile material.<br /> In the following series of coincidences and implications, sneaky intrigues and chess moves,<br /> the allegedly simple cook Liu Yuejin proves to be an amazing sly dog and gets out of a tight spot.<br /> However he has caused a domino reaction of complexities<br /> from which – that will be clear in the end – he will not be able to free himself so quickly.<br /> <br /> Liu Zhenyun<br /> E-book<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-03-6<br /> <br /> Lu Xun<br /> From the Chinese by Raoul Findeisen, Wolfgang Kubin, Florian Reissinger<br /> Unionsverlag - ISBN 978-3-293-00407-8<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Ma Jian <br /> From the English by Barbara Heller<br /> Schirmer Graf - ISBN 978-3-86555-063-7<br /> ► When Ma Jian turned thirty, eight years after Mao's death, he decided to move on from the tight boundaries of Beijing.<br /> His country began to change and he wanted to get to know it. Nannan, his little<br /> daughter, was always with her mother; his girlfriend cheated on him; he felt supervised as an artist;<br /> his inspiration for writing or painting was at the end. He bought himself a train ticket to the furthest<br /> Western border of China and set out.<br /> Ma Jian's journey, by train and by hitchhiker, took three years and beaconed him to the lonely high valleys of<br /> Tibet, the iconic sites of Buddhism, the beautiful salt deserts and villages<br /> where the time stood still between the Middle Ages and communism.<br /> <br /> Mo Yan<br /> Translated by: Martina Hasse<br /> Horlemann - ISBN 978-3-89502-272-2<br /> ► The novel begins on the 1 January 1950 in hell. Shortly before the traditional order of the rural China has been abolished by Mao Tsetung’s agrarian reform.<br /> For two years Prince Yama, the ruler of the underworld, has conquered the landowner Ximen Nao with every possible torment<br /> to force him to accept the charges, which lead to his<br /> execution by the small farmers. But Ximen Nao persistently asserts his innocence.<br /> Finally Yama gives in reluctantly and allows Ximen to return to the earth to his former possessions in the <br /> impoverished Shandong. But when he arrives there, he finds out to his disappointment<br /> that he was not reborn as a man, but as a donkey. With the eyes of the beast he traces the fate of his former family, his friends, rivals and enemies.<br /> Further reincarnations cause him to become a bull, a pig, a dog and a monkey and<br /> finally to a boy with a big head, who has an astounding memory and a talent for<br /> languages. From the rough and extraordinarily entertaining perspective of each character,<br /> this novel tells the last 50 years of the stormy history of China.<br /> <br /> Mo Yan<br /> From the Chinese by Karin Betz<br /> Island ISBN 978-3-458-17446<br /> <br /> Mo Yan<br /> From the Chinese by Andreas Donath<br /> Unionsverlag<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> Pu Yi<br /> From the Chinese by Richard Schirach and Mulan Lehner<br /> Paperback edition, dtv - ISBN 978-3-423-21168-0<br /> ► Pu Yis exciting autobiography, source material for Bertolucci’s excellent film that won nine Oscars <br /> &quot;The Last Emperor&quot; gives absurd and also fascinating insights into the world of the Forbidden City that has sunk with him<br /> and leads from the confusion of the Chinese Civil War to the prisons of the Peoples’s Republic <br /> where Pu Yineun was given a longstanding reeducation, which made the former ruler of millions to a convinced follower of Mao and the &quot;New Person&quot;<br /> <br /> Qiu Xiaolong<br /> From the English by Susanne Hornfeck<br /> Zsolnay - ISBN 978-3-551-05461-4<br /> ► On a traffic island in the middle of Shanghai, the corpse of a woman is found at dawn. She<br /> is wearing a tight red silk dress, a &quot;qipao&quot;, as it was frowned upon during the cultural revolution, and for <br /> now comes back into fashion Shortly afterwards one discovers a second and soon afterwards a third<br /> female corpse. Chief Inspector Chen, who is the only one who knows how to get the psychological profile of a serial killer,<br /> deals with a real estate scandal and finally wants to crown his literature studies with an academic degree. In the meantime, his young colleague strikes out as<br /> a decoy on a dangerous mission ...<br /> <br /> Qiu Xiaolong<br /> Translated by: Susanne Hornfeck<br /> Paperback edition, dtv - ISBN 978-3-423-21128-4<br /> ►Chief Inspector Chen has long dreamed of a trip to America. And now the<br /> romancing policeman is commissioned to accompany a writer delegation to the USA. But the onetime opportunity<br /> is more than unfavorable for Chen. For he has received an order which actually requires his full<br /> commitment in Shanghai: After the death of a policeman in a brothel, the supreme party administration obliges him to finally put atop to the activities of the &quot;red rats&quot; - corrupt officials and bribes selling<br /> neocapitalists. However, as early as the first investigations, Chen has to realise that he will have to deal with powerful<br /> party leaders who are not sticking at nothing...<br /> <br /> 摘自理查德席拉赫和木兰莱纳中文平装版书籍中有关溥仪的记载。dtv - ISBN 978-3-423-21168-0 ► 情节激动的溥仪的自传是贝托鲁奇拍摄的优秀电影《末代皇帝》的文献参考来源，这部电影获得了九项奥斯卡大奖，他对紫禁城的世界给予了荒谬而迷人的见解。溥仪在中国内乱、战争不断期间，经历了从在紫禁城里的生活一直到新中国成立被送入人民共和国的监狱里接受改造的生活，他被赋予了长期的再教育，使他这位曾经统治过许多人的统治者面目一新，成为了毛泽东思想的忠实追随者和人民共和国的新生公民。<br /> <br /> 裘小龙摘自苏珊娜•霍恩菲克•兹索尔内英文版书籍的记载。 - ISBN 978-3-551-05461-4►黎明时分在上海市中心的一个交通要道上，发现了一具女尸。这具女尸穿着一件紧身的红色丝绸长裙，一件“旗袍”，这种样式在文化大革命期间曾遭到人们的冷遇，现在又流行起来了，不久之后，人们发现了第二具女尸，过了不久又发现了第三具女尸。陈警长是唯一一个擅长如何模拟连环杀手心理特征的人，他处理过一桩房地产丑闻案件，最后他希望自己的文学研究能够获得一个学位。而与此同时，他的年轻同事在一次危险的任务中充当了诱饵……<br /> <br /> 裘小龙所翻译的苏珊娜•霍恩菲克平装版书籍的记载。 dtv - ISBN 978-3-423-21128-4►陈警长一直梦想着去美国旅行。现在，这位充满浪漫风度的警察被派去美国参加一个作家代表团大会，但是时机对陈警长来说非常不好。因为他收到了一份命令，上级需要他在上海着手解决一件案子。继一名警察在妓院执行任务时牺牲后，党的最高行政当局责成他查获捣毁一个靠腐败官员和贿赂新兴资本家起家的“红老鼠”活动集团。然而，早在第一次调查时，陈警长就应该意识到，他将不得不对付那些拥有一切、权势滔天的利益集团首脑们……--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:39, 3 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> Jiang Rong<br /> <br /> From the Chinese by Karin Hasselblatt<br /> Goldmann - ISBN 978-3-442-31108-8<br /> ► During the cultural revolution in the 1960s the Chinese student Chen Zhen is sent to the interior <br /> Mongolia. There he shall learn about the life of nomadic cattle breeders. Immediately he is<br /> completely captivated by this completely unknown and archaic world. On the side of<br /> Bilgees, his old Mongolian teacher, he defies snowstorms and torriding heat, and gets<br /> insight into the ancient myths and traditions of the Mongolian people. Especially Chen Zhen becomes acquainted with the wolves, whose wisdom and courage the have always fascinated Mongols – and soon connects him a deep love to a wolf-boy, which he is breeding. But then disaster announces itself, because when the Chinese sense the economic potential of the Mongolian steppe, greed for profit<br /> and blind faith in progress are threatening to destroy the centuries-long balance between man and nature …<br /> <br /> Tei Chiew-Siah<br /> From the English by Claudia Feldmann<br /> Droemer - ISBN 978-3-426-19823-0<br /> ► China 1875: The small pavilion at the pond is the favorite place of the young Mingzhi. Finally he has a safehold, where he can prepare himself for the examination of Mandarin. By becoming an officicial he will fulfill the dream of his grandfather and give the family power and honor But strangers bring unrest into the country - and the eyes of a young woman confusion in Mingzhi's heart.<br /> <br /> Emily Wu / Larry Engelmann<br /> <br /> Paperback Edition, Droemer - ISBN 978-3-426-78179-1<br /> ► Emily Wu is still a child when Mao's cultural revolution throws her world into turmoil. As a daughter of a professor<br /> she must experience something unimaginable: Her family and she herself are again and again exposed to<br /> repressions and humiliations. Harassment, torture and rape are the order of the day. But with much courage and inventiveness, Emily succeeds in breasting her destiny<br /> and to win the daily struggle for survival. In the end she has matured in the years of terror – and finds a first love ...<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Ouyang Xiu<br /> From the Chinese by Anne Guder-Meng<br /> Ostasien Verlag - ISBN 978-3-940527-24-0<br /> ► Ouyang Xiu (1007-1072), a court official, who exceled as a historian, poet and essayist at the same time, belonged to the leading figures of the Song time (960-1279). In his Guitian lu,<br /> literally &quot;notes after returning to the fields&quot;, he teases in a total of 116 anecdotes<br /> about current mischief at the imperial court and about the quirks of his colleagues at court. As a<br /> typical work of the genre &quot;brushes&quot; (biji) is here primarily an<br /> entertainment literature for the educated upper class given. But the attentive reader feels behind the subtle<br /> mockery the voice of the strict Confucian, who sets high standards on himself and on others and who sees the reason for the dysfunctions of his time especially in the misconduct of people in high<br /> positions. This book contains beside a first complete translation of the Guitian Lu into a Western language also the original, an introduction as well as numerous helpful comments for the text understanding..<br /> <br /> Xu Lu<br /> From the Chinese by Anna Stecher and Zhang Weiyi<br /> Edition Raetia - ISBN 978-88-7283-305-6<br /> ► &quot;And I am dumb, can not tell the weather winds / How the time of stars ticks the sky.&quot;<br /> These lines of the poet Dylan Thomas are preceded in the novel by the Chinese author Xu Lu.<br /> It is precisely this poetic ticking of time – in Chinese Dida, similar to the onomatopoeicTicktack - that forms<br /> the background melody of this novel. Xu Lu tells the story of Weila, Di Xia, Yu Qian and Huo<br /> Yining, four young people, their experiences and dreams. The novel is characterized by<br /> overlapping Language Levels: Xu Lu tries to break through the tight cage of the Chinese language with a for<br /> the so-called &quot;after-80s generation&quot; (ba ling hou) typical mix of everyday language, literary language<br /> and youthful street slang. Thus language and content unite into a portrait of a generation that is loooking for identity - in a country in turmoil.<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Xu Zechen<br /> From the Chinese by Marc Hermann<br /> Berlin Taschenbuch Verlag - ISBN 978-3-8333-0599-3<br /> ► Dunhuang is in his mid-twenties. Driven by the dream of making big money in the capital<br /> he travels to Beijing. He joins a gang of document counterfeiters and works with his friend Baoding<br /> as a recruiter and deliverer on the street. The business is going well until they begin to be careless<br /> and the police arrests them. Three months later, Dunhuang comes free and goes once again to the bad. He gets to know the somewhat older Xiaorong, they sell DVD bootlegs, they<br /> have sex, then Xiaorong reconciles with her ex-boyfriend, and Dunhuang must battle his way alone.<br /> He sells porn and meets the pretty Qibao, they become a couple. But Qibao keeps an abundant eccentric life and is arrested ...<br /> <br /> Yan Lianke<br /> From the Chinese by Ulrich Kautz<br /> Taschenbuchausgabe, List, ISBN 978-35-4860-909-6<br /> ► A brave soldier and the sex-hungry wife of a divisional commander reverve Maos China<br /> uncompromisingly their love and spark the most beautiful, crazy and wild counterrevolution<br /> of the People's Republic. Yan Lianke's novel became an easy prey for the censorship in China and got an international cult novel on the internet.<br /> <br /> Yang Jiang<br /> From the Chinese by Monika Motsch<br /> Schirmer Count<br /> ► Yang Jian is the widow of the famous writer and scholar Qian Zhongshu (1910-<br /> 1998). In her novel she portrays her life with Qian Zhongshu and the daughter of the two - up to<br /> her tragic death. But first, she describes the life of the three in a thrilling and humorous way:<br /> wedding, studying in Oxford and Paris, birth of the daughter, returning to China which ia occupied by Japan;<br /> then the founding of the PRC, Qian Zhongshu's work in the English translation committee of the works by<br /> Mao Zedongs, political campaigns and cultural revolution; Finally rehabilitation and seniority. Yang Jian<br /> not only illustrates impressively the development of the three main characters, but also the<br /> upheavals of the Chinese society into the 21st century.<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Yang Lian<br /> From the Chinese by Wolfgang Kubin and Karin Betz.<br /> Suhrkamp - ISBN 978-3-518-42121<br /> <br /> Yang Xianhui<br /> From the Chinese by Katrin Buchta.<br /> edition suhrkamp - ISBN 978-3-518-12591<br /> <br /> Yu Hua<br /> From the Chinese by Ulrich Kautz<br /> Fischer - ISBN 978-3-10-095803-7<br /> ► Two brothers - two lives. Li is a clever businessman. He sells garbage and worn out<br /> suits from Japan. Li scoops up millions. Brother Song is prudent, an aesthete and eternal<br /> misadventurer. A bit too good for the modern China – the wild capitalism. But he also wants to share in the<br /> economic miracle. So he enlarges his breast surgically to sel a gel to the countrywomen which makes the breasts fuller. Brüder is the tragicomic story of Li and Song, who survive<br /> the horrors of the cultural revolution and try their luck in the new China.<br /> <br /> Zhang Jie<br /> From the Chinese by Eva Müller<br /> Unionsverlag<br /> <br /> 杨莲，沃尔夫冈·库宾和卡琳·贝茨译（中译德），苏尔坎普出版社 -国际标准书号：978-3-518-42121<br /> <br /> 杨显惠，卡特林·布克塔译（中译德），苏尔坎普出版社 -国际标准书号：978-3-518-12591<br /> <br /> 余华，高力希译-国际标准书号：978-3-10-095803-7 ►《兄弟》-两种不同人生。李光头是一个聪明的商人，他倒卖日本来的废物和旧西服，并因此赚的腰缠万贯。而宋岗谨慎细微，是一个唯美主义者，也是一个永远的不幸者。这一角色对于现代中国-疯狂的资本主义来说，太过于美好。但是他也想在这一场经济奇迹中分一杯羹，于是他自己做了丰胸手术去卖丰乳霜。《兄弟》描述了李光头和宋岗两兄弟的悲惨故事，他们一边在文化大革命的恐怖之中谋求生存，一边在新中国碰碰运气。<br /> <br /> 张杰，梅薏华译（中译德），联合出版社--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:54, 3 October 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Zhu Wen<br /> From the Chinese by Frank Meinshausen<br /> A1-Verlag, ISBN 978-3-940666-07-9<br /> ► Six stories about the modern China: laconic, with wit and sarcasm, Zhu Wen draws<br /> the image of a Chinese society that is caught between communism and capitalism<br /> in which all values and securities begin to totter.<br /> A boat trip on the Yangzi, which is ill-starred from the beginning. Meanwhile the first-person narrator feels without his assistance imperiled in Kafkaesque manner to the arbitrariness of new people; a factory worker who accidentally gets caught in the clutches of a mafiaous family, which accuses him that he bumped with a bicycle into their grandfather; a young man, who is compelled by the family of a friend to keep night watch at the sickbed of the freshly operated father.<br /> Unexpectedly he is exposed to the whims of the father and to the apparatus of a ramshackled, profit-oriented hospital; or the first-person narrator in the title story, a luckless writer in a Chinese<br /> provincial town, who gets a visit from his father and wants to make him a few nice days, in fact<br /> with the things that are most important for him in his own life: money and sex.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Zhu Xiao-Mei<br /> From the French of Anna Kamp<br /> Kunstmann - ISBN 978-3-88897-557-8<br /> ► Beijing 1966: The musical genius kid Zhu Xiao-Mei is a great career as a Concert pianist predicted. But while Xiao-Mei is studying at the Conservatory,<br /> the Cultural revolution is starting. The cosmopolitan and culture loving Zhu family is suddenly considered as &quot;bourgeois&quot;<br /> which means in Mao's new China decadent, dangerous, counterrevolutionary. The young girl witnesses bewilderedly how notes get burned, her teachers get publicly humiliated, even executed. No student<br /> Can escape the force for denunciation and permanent self-criticism.<br /> Like all her classmates and relatives, Xiao-Mei is sent to a labor camp, spends five<br /> years of unimaginable hardship in a no-man’s-land on the edge of Mongolia. After years without music<br /> she discovers an old accordion in the camp, hesitantly hits a few keys. A melody is rising<br /> and with it the hope for another life.<br /> Now nothing can stop her: she puchases a piano, exercises like a possessed, flees from the camp<br /> to Beijing, finally arrives abroad after Isaac Stern's Chinatournee. Ten years takes her<br /> adventurous odyssey via Hong Kong, Los Angeles and Boston until she finally becomes in Paris an<br /> internationally acclaimed pianist and Bach interpreter.<br /> <br /> Anthologies<br /> Olga Barrio Jiménez / Eva Schestag (Eds.)<br /> A collection of Chinese classics. Volume I - IV<br /> Translated from the Chinese by Manfred Porkert<br /> Fischer<br /> ► The Chinese literature is one of the oldest and richest literatures of the world. In four volumes and with numerous retranslations the collection of Chinese classics provides in its form a unprecedented panorama of the classical Chinese literature, poetry and novels in German.<br /> <br /> 朱晓玫<br /> 来自法国的坎普<br /> 艺术家 国际标准书号978-3-8897-57-57-8<br /> ► 北京 1966： 正如一位钢琴音乐家所预言，朱晓玫是一个音乐神童。但是当晓玫在音乐学院学习的时候，文化大革命开始了。胸怀世界，热爱文化的朱家突然被视为“资产阶级”，这在毛泽东当政的新中国被认为是腐朽的，危险的，反革命的。这个年轻的女孩困惑的目睹了自己的笔记本被烧毁，她的老师们被公开羞辱，甚至被处决。任何学生都逃不脱谴责和无尽的自我批评。和她所有同学和亲戚一样，晓玫被送到了劳教所，在蒙古边缘的无人地带度过了五年难以想象的艰苦生活。多年没有接触过音乐，后来她在劳教所里发现了一把旧手风琴。她犹豫地按了几个键，空气中升起了一段旋律，随之升起的是对往生的希望。现在，没有什么能够阻止她：她一逮到钢琴就像着了魔似的练习。她从劳教所逃到北京，最终又跟随艾萨克斯特恩的《唐人街》来到国外。她的冒险经历长达十年，途经香港，洛杉矶和波士顿，最终在巴黎成为国际知名钢琴家巴赫的翻译。<br /> <br /> 选集<br /> 奥尔加·巴里奥·希门内斯/伊娃·施塔格（编辑）<br /> 《中国古典名著集》。第一卷至第四卷<br /> 曼弗雷德·波克特·菲舍尔译自中文<br /> ►中国文学是世界上最古老、最丰富的文学之一。《中国古典名著集》共分四卷，经多次重译，以前所未有的方式用德语展示了中国古典文学、诗歌和小说的全貌。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:11, 2 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Benjamin et al.<br /> Tokyopop - ISBN 978-3-86719-738-0<br /> ► 10 Chinese comic artists have got together to convey their<br /> sight of Beijing in word and image in a joint book. The approaches to the subject are very different, graphically extraordinarily diverse and always very personal.<br /> <br /> Alice Grünfelder (Eds.)<br /> Unionsverlag - ISBN 978-3-293-00406-1<br /> ► Texts by Tibetan writers of the younger generation: Alai, Jamyang, Taering Oser,<br /> Tenzin Tsundue et al.<br /> <br /> Volker Klöpsch (eds.)<br /> insel taschenbuch - ISBN 978-3-458-35117-7<br /> ► A butterfly in the bamboo holt, a rain of fragrant peach blossoms, shimmering jade in the moonlight<br /> - in images full of grace and poetry, the great Chinese masters extol the beloved. The<br /> present selection gathers the most beautiful poems from three thousand years. They are partially<br /> presented in German translation for the first time.<br /> Classical Chinese tales and stories<br /> Insel<br /> <br /> Liu Hsiang<br /> 4 volumes<br /> From the Chinese by Hans Stumpfeldt<br /> Ostasien Verlag ISBN 978-3-940527-20, 978-3-940527-20-2, 978-3-940527-21-9, 978-3-940527-22-6<br /> ► The Shuo-yüan is an early work of the Chinese narrative literature, which is here for the first time in a<br /> Translation into a Western language. It contains more than six hundred stories that are assembled after ethical-moral<br /> criteria by the librarian and archivist Liu Hsiang (79-8 BC). The stories are taken from a large number of earlier works. Many of them dropped out early from the written tardition To each of the twenty chapters an introduction will be attached.<br /> <br /> 本杰明等，Tokyopop（日本著名出版社）-国际标准书号 978-3-86719-738-0<br /> ► 10个中国漫画家联合创作、汇聚成书，用文字和图画来描绘他们眼中的北京。这种形式是不同寻常、千姿百态而又极具个人色彩的。<br /> <br /> 爱丽丝 戈伦斐德（编辑），联合出版社-国际标准书号 978-3-293-00406-1<br /> ► 来自年轻一代西藏作家的文字：阿莱，嘉央诺布， 达林奥泽，丹增尊珠等等<br /> <br /> 福尔克尔 克勒普夫科（编辑），因泽儿出版社-国际标准书号-978-3-458-35117-7<br /> ►竹林中的一只蝴蝶，桃花落英缤纷，香气四泄，月光下闪闪发亮的翡翠<br /> -中国大师们用充满诗意和优雅气质的意象歌颂挚爱。现有诗歌选集收录了三千年来中国古代最优美的诗歌。其中部分首次出现德语译本。<br /> 经典中国传说故事<br /> 因泽尔<br /> <br /> 刘向<br /> 4卷<br /> 司徒汉选自中文<br /> 东亚出版社 国际标准书号-978-3-940527-20, 978-3-940527-20-2, 978-3-940527-21-9, 978-3-940527-22-6<br /> 《说苑》是中国叙述文学的一部早期作品，在此首次译作西方语言。该书包含了600多个道德准则故事，由图书、档案管理家刘向收录编辑而成。许多故事早已经偏离了书面传统，其中每二十章都附有介绍。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:57, 3 October 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Li Jingze / Jing Bartz (eds.)<br /> From the Chinese by Hanne Chen, Johannes Fiederling, Karin Hasselblatt, Marc Hermann, Ulrich<br /> Kautz, Irmy Schweiger<br /> DIX Verlag, ISBN 978-3-941651-00-5<br /> ► China is on the road, in turmoil and departure. Common certainties are shaken, conventions<br /> dissolve themselves. The present stories capture this dynamism that can hardly be hold in place. The ten<br /> Authors live in China and are also the inhabitants of a globalized world. This dynamic makes<br /> the stories so thrilling and accessible to Western readers.<br /> Broadly being spared from the trauma of the Mao period, the young authors keep pace with the times:<br /> unagitated, entertaining, and ironic, without a wagging finger and without false nostalgia, but<br /> even without the transfiguration of the gold-rush mood, that we, in the West, so gladly associate with today's China. In their very individual way they hold up a mirror to China.<br /> <br /> Li Jingze / Jing Bartz (eds.)<br /> E-book.<br /> DIX Verlag - ISBN 978-3-941651-02-9<br /> <br /> Christian Lux / Hans-Joachim Simm (eds.)<br /> Inael ISBN 978-3-458-17418-9<br /> ► The Insel-Almanach for the year 2009 gives with exemplarily texts an overview on the Chinese literature in the past and present. In addition to that there are images, that convey an impression on <br /> Chinese art and calligraphy.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Frank Meinshausen / Anne Rademacher (eds.)<br /> dtv - ISBN 978-3-423-13770-6<br /> ► The everyday life in the metropolises and in the province, the life in the homeland and in the emigration,<br /> family ties, friendships and love relationships, deep–rooted traditions and dreams of<br /> a self-determined future - the stories of contemporary Chinese authors are so<br /> diverse and dynamic like the Middle Kingdom itself.<br /> The stories by Fan Wu, Qi Ge, Yiyun Li, Ma Jian, Wu Chenjun, Xiaolu Guo, Sheng Keyi, Ha Jin, Li Dawei, Luo Lingyuan, Li Er and Zhu Wen. Mo Yan, Alai, Ye Zhaoyan, Li Feng, Feng Jicai. Short stories from China. Bilingual German-Chinese<br /> From the Chinese by Karin Hasselblatt and Katrin Buchta<br /> Chinabooks - ISBN 978-3-905816-19-8<br /> <br /> Alexander Saechtig (eds.)<br /> Weimar Schiller-Presse - ISBN 978-3-8372-0337-0<br /> <br /> Helga Sönnichsen (eds.)<br /> Ostasien Verlag - ISBN 978-3-940527-16-5<br /> So writes the author of the in<br /> this volume gathered poetry translations in her introduction. The poem translations are joined by the particular Chinese originals, but they are also accompanied by carefully<br /> selected pictorial material from the time the texts come from.<br /> <br /> <br /> 弗兰克·梅恩斯豪森/安妮·拉德玛彻 <br /> 数字电视-国际标准书号 978-3-423-13770-6<br /> ►在大都市和省内的日常生活，在家乡和移民后的生活，亲情，友谊和爱情，根深蒂固的传统和自主选择的未来的梦想-当代中国作家的故事就是这样多样而又充满活力，就像中国一样。范武、齐歌、李依云、马健、吴辰君、郭小璐、盛可颐、哈金、李大为、罗玲媛、李尔、朱文。莫言、阿来、叶兆言、李峰、冯骥才。中国短篇小说。汉德双语汉译：Karin Hasselblatt和Katrin Buchta<br /> Chinabooks-国际标准书号 978-3-905816-19-8<br /> <br /> Alexander Saechtig（编辑）<br /> 魏玛席勒出版社-国际标准书号 978-3-8372-0337-0<br /> <br /> Helga Sönnichsen（编辑）<br /> Ostasien Verlag-国际标准书号978-3-940527-16-5<br /> 所以这本书的作者在她的介绍中收集了诗歌翻译。诗歌翻译与特定的中文原著连接，创造文本的同时还精心挑选了辅助的图片资料。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:28, 2 October 2020 (UTC)Xiao yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Hans Stumpfeldt (eds.)<br /> Ostasien Verlag - ISBN 978-3-940527-18-9<br /> ► The Han period (208 BC - 220 AD) was an epoch in which fundamental historical and philosophical traditions were originated.<br /> It is less known that it was also the May of the Chinese poetry. This volume brings together a selection of poems that were written by members of the<br /> the most diverse classes, and which still appeal in their beauty and meaningfulness to the present reader. The poems are presented with the particular original text<br /> and embedded in its historical, cultural and literary context.<br /> <br /> Richard Wilhelm (eds.)<br /> Marix - ISBN 978-3-86539-201-5<br /> ► One hundred fairy tales from the Middle Kingdom that reveal us more about Chinese thinking and feeling than the most academic treatises. This probably most famous collection of Chinese folktales was written down by<br /> Richard Wilhelm in Tsingtau in a long patient translating work.<br /> It is a whole cosmos of fairytale poetry: fairy tales and legends about gods,<br /> stories of saints and sorcerers, of natural and animal spirits, also ghost stories,<br /> Historical legends and finally literary refined fairy tales like that of the monkey Sun Wu Kung,<br /> which plays through the mythological motifs and is filled with smiling humor. Soon we will be enchanted by<br /> Moon Fairy and Queen of Heaven, soon we will get to know Confucius, Laotse and the eight immortals. We<br /> experienced fantastic things about the spirits of the yellow river, the sect of the white lotus, the<br /> Monk at the Yangtsekiang.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Children’s and young people’s books<br /> Cui Aner<br /> Ueberreuter - ISBN 978-3-8000-5503-6<br /> ► Chi You, the spirit of evil, has invaded the Dragonland where the people live. Just<br /> one can save them: Shaodian, a chosen young sage. Together with a warrior, a<br /> historian and a magician, he begins to search for the Great Dragon, the keeper of the people.<br /> <br /> Chen Jianghong<br /> From the French by Tobias Scheffel<br /> ► The small Chen grows well-guarded with two sisters at his parents and grandparents in a<br /> city in the north of China. When Mao proclaims the Cultural Revolution in 1966, life changes:<br /> people are arrested and books burned. The family has little to eat. At school<br /> the teachers swear their students on the principles of Mao. Also Chen becomes a small red guard and<br /> proudly wears the red armband. One day the father receives a letter, which tells him that he has to go in a reeducation camp near the Russian border. The family hears just seldom of<br /> him. It is only after Mao's death in 1976 that the father can return.<br /> <br /> Chen Jianghong<br /> Lian<br /> 2. Edition, Moritz - ISBN 978-3-89565-184-7<br /> ► Because there were just a few fish this year, Lo, the fisherman, is sad. One day he receives from<br /> an very old woman in gratitude for bringing her in a terrible thunderstorm to the other shore of the lake, some lotus seeds. They are very special seeds, because they come from a throat of a dragon. Lo puts them in the earth and overnight a whole lotus field blooms. From one flower comes one<br /> little girl out - Lian. She is also very special, because she has a wonderful talent: Everything she touches with her magic lotus is transformed into treasures. But this evokes promptly<br /> the greed of the daughter of the Prefect...<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Chen Jianghong<br /> Translated by: Erika and Karl A. Klewer<br /> Beltz &amp; Gelberg - ISBN 978-3-407-76075-3<br /> ► The history of the painter Han Gan from the 8th century has Chen Jianghong inspired to this picture book. He lived in China and only painted horses. Like Han Gan also Chen painted his pictures on silk.<br /> Spoken by Barbara Nüsse<br /> Jumbo Neue Medien - ISBN 978-3-8337-2420-6<br /> <br /> 陈江洪创作这本画册起初是因为受到了公元8世纪的画家韩干的启发。韩干住在中国，只画马。像韩干一样，陈江洪也在丝绸上作画。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:09, 2 October 2020 (UTC)Xu Jia<br /> <br /> Daiealu<br /> edition nove - ISBN 978-3-85251-619-6<br /> <br /> Kate Dargaw / Igor Oleynikov<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-40-1<br /> ► Regularly at the beginning of the year, the Nian monster awakens in the sea, rises ashore and strikes everything<br /> it catches with itself: man and beast. Therefore, the villagers bundle their belongings together and<br /> flee into the mountains as soon as they hear its rumbling. Grandmother and grandson do not accomplish to escape<br /> and hide in the back of the house, they hold doors and windows ight locked. A beggar comes in search of something edible and wonders about<br /> the abandoned village. Of course, grandmother and her grandson share with him. And then he even has an idea,<br /> how to banish the monster: forever!<br /> For the returning villagers this is a miracle. That is why today the Chinese still celebrate their<br /> New Year's festival as the beggar showed it.<br /> <br /> 通常，在新年之初，年兽会在大海中觉醒，跃至岸上，攻击它能抓到的一切事物，包括人和兽。因此，一听到年兽的咆哮，村民们就收拾东西逃到山里。奶奶和孙子没有跟着逃跑，他们躲在屋子后面，把门窗关得紧紧的。一个乞丐过来村里讨吃食，对这里荒凉的景象感到纳闷儿。从奶奶和孙子那里得知原因之后，他想到了一个办法，可以让年兽永远消失。<br /> 年兽不见了，对回村的居民来说，这简直是天大的好事。因此，时至今日，中国人仍会庆祝春节。 --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:09, 2 October 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Kate Dargaw / Igor Oleynikov<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-41-8<br /> ► The Chinese count the years after 12 animals. Just why mouse, ox, tiger, bunny, dragon,<br /> snake, horse, goat, monkey, rooster, dog and pig? Well, these are the big winners of the<br /> Imperial race. But it was not that easy to be one of the chosen ones! The race, that<br /> the Jade Emperor proclaims, will be a thrill for all participants. And because the mouse went flagrantly behind the cat’s back, today the two are enemies in all countries of the world!<br /> <br /> K.T. Hao / Giuliano Ferri<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-42-5<br /> ► Dubai can absolutely not fall asleep. What a luck the little elephant got a<br /> Magic book as a gift. Since then he has been sleeping well and has the sweetest dreams - at least until he is scared that this treasure could get lost. No stash seems <br /> secure enough to him now. He climbs higher and higher. But that is not the solution. And then it happens: one day<br /> his book is gone. But because it's a magic book ...<br /> <br /> ==Xu Jing 许静==<br /> <br /> Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-72-2<br /> ► Lilli would never have thought that a visit to the Chinese restaurant could be so exciting! The<br /> mysterious restaurant owner Mr. Wang and his strange fat cat Dr. Fu dedicate divulge a secret to her. Through a charmed mirror she enters a magical world, where dragons and other fabulous beasts are living.<br /> She becomes friends with a little dragon, and when her mother travels with her through China, the<br /> Dragon is always secretly by her side And so the adventure begins, because a gang of robbers. who steal dragons aim for<br /> Lilli’s cocky, poodle-sized dragon friend ...<br /> <br /> Max Kruse and Marlies Rieper-Bastian<br /> Ueberreuter - ISBN 978-3-219-11372-3<br /> ► When Kathi's father reveals to the family that they will live for a while in China, the girl is<br /> clueless. However in the night, she receives a visit from the friendly Dragon Lung Kuan, who takes her on a<br /> journey to the far country. This is how Kathi gets to know great secrets and small differences ...<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Maximilian Paulin<br /> Translated by: Susanne Wechdorn<br /> Tyrolia - ISBN 978-3-7022-2905-4<br /> ► Telling strange people in strange countries something about God? Today thats still a great challenge. 150 years ago a boy from a small village between the mountains of South Tyrol <br /> felt this wish deep in his heart: Josef Freinademetz from Oies. After he became a priest, he joined the Steyler missionaries and went to China. Because the Europeans wanted<br /> to establish there their rule and become rich. For sure the Chinese had understandably no pleasure with that. Josef must discover a lot of disappointments. But he does not give up. And when he is loosing his last forces,<br /> he suddenly finds out that there is still someone on his side:<br /> Fuschu. A small and very real Chinese dragon! Whether that can help him to understand the Chinese?<br /> <br /> Marie Th. Schins<br /> Sauerländer - ISBN 978-3-7941-6150-8<br /> ► When the 12-year-old Siong lands with a loud bang in the pitch-black cellar of a hotel somewhere in Hong Kong, he suspects that this journey through China will be quite exciting.<br /> In addition to his adventurous grandpa, his friends Lee and the (not always) lovely<br /> Litju accompany him . Together, they travel from the gigantic skyscraper city to Beijing,<br /> Shanghai, the Great Wall, Chengde and Hainan Island. Siong is stunned by this<br /> Versatile, difficult to access culture with its moving history.<br /> 马克西米利安·波林，翻译者：苏珊娜·魏希顿·蒂罗里亚 - ISBN 978-3-7022-2905-4 和陌生国度的陌生人谈论上帝的事？在今天这仍然是一个很大的挑战。150年前，在南蒂罗尔群山之中的一个小村庄中，有一个小男孩，他心中深深地怀着这个愿望：约瑟夫·弗赖纳德梅茨，来自奥伊斯。在他成为牧师之后，加入了斯特尔传教士，之后前往中国。由于欧洲人想在中国建立自己的统治并且致富。中国人自然不会因此而感到开心。约瑟夫想必目睹了许多令人失望的事情，但他却仍未放弃。在他用尽自己最后的力量时，他突然发现还是有人站在他这一边的：福初，一只小巧真切的中国龙！到底福初能否帮助他理解中国人呢？<br /> 玛丽·史金斯·萨兰德- ISBN 978-3-7941-6150-8 随着一声巨响，12岁的松来到了香港某处一家宾馆漆黑的地窖里。他猜想这趟中国行一定十分精彩。除了他充满冒险精神的爷爷，他的朋友李以及可爱的李菊也随他同行。他们一起，从大厦林立的香港前往北京，上海，登上长城，去到承德，海南岛。这些丰富的，难以接触到的文化，以及动人的历史故事让松感到深深的震撼。<br /> --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 14:50, 2 October 2020 (UTC)Xu Mengdie<br /> <br /> 马克西米利安·波林 <br /> 翻译：苏珊·韦登·特罗里亚<br /> -ISBN 978-3-7022-2905-4<br /> ►告诉陌生国家的陌生人一些关于上帝的事情？今天，这仍然是一个巨大的挑战。150年前，在南蒂罗尔山脉之间的一个小村庄里，有一个男孩深深地怀揣着这个愿望：来自奥伊斯的约瑟夫·弗赖纳德梅茨。成为牧师后，他加入了斯特尔传教士，并前往了中国。因为欧洲人想在那里建立自己的统治并致富，中国人显然对此并不高兴。约瑟夫无可奈何地经历了许多让他失望的事情。但是他并没有放弃。当他精疲力尽的时刻，突然发现还有人和他并肩作战：福初，一条小巧真诚的中国龙！福初是否真的可以帮助他理解中国人呢？<br /> 玛丽·史金斯·萨兰德<br /> -ISBN 978-3-7941-6150-8<br /> ►伴随一声轰鸣，12岁的松进入了香港某酒店的一个漆黑地窖之中，他预想这次中国之旅一定会非常刺激。除了他爱冒险的爷爷之外，还有他的朋友李和（并非总是）可爱的李菊陪他一起。他们一起从高楼林立的香港前往北京，上海，去了长城，承德和海南岛。 松被这种缤纷多彩，难以捉摸的文化及其动人的历史震撼到了。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:10, 2 October 2020 (UTC)Xiao Yining<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> Yang Hongying [list place 7, children’s writer]<br /> Translated by: Ulrike Lotz.<br /> Egmont Franz Schneider - ISBN 978-3-505-12660-4<br /> ► It is winter and the Jade Lake Park is not busy. Until two strange dogs appear suddenly and<br /> they behave strangely. The laughing cat and his friend, the Pekinese lady, want absolutely<br /> find out what is wrong with the two, and encounter a series of mysteries secrets ...<br /> <br /> Yang Hongying [list place 7, children’s writer]<br /> Translated by: Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12661-1<br /> ► The cats in the park are angry. On the roof of the great white tower appeared suddenly a beautiful striped cat. It is strictly forbidden to climb there up for any other cat! An extraordinary meeting is convened immediately. As an old mouse gets wind of the crazy going-ons of the cats, she figures out a plan together with the other mice ..<br /> <br /> 杨红樱【名单中第七位，儿童文学作家】<br /> 译者：Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12660-4<br /> ►正值冬日，翠湖公园人迹寥落，两只陌生的狗突然出现打破了这种平静，这两只狗行动怪异,笑猫和他的朋友--那只京巴狗,下定决心要查明这两只狗是怎么回事，因而遇到了一系列神秘的谜团...<br /> <br /> 杨红樱【名单中第七位，儿童文学作家】<br /> 译者：Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12661-1<br /> ► 大白塔的顶上突然来了一只漂亮的条纹猫，这让公园里的猫们很生气，其他猫爬塔顶是被坚决禁止的！这群猫立即召开了临时会议，而一只老老鼠在得知猫的疯狂行径后，便和其他老鼠一起想出了一个计划...--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:25, 2 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> Nydia Yang<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-43-2<br /> ► Picture books not only show the world through a rose-colored glasses. Divorce and break-up of parents belong today to the<br /> everyday life of many children. How do we talk about it - as parents and grandparents, educators and teachers,<br /> relatives or friends?<br /> 'The pale red balloon' loses the brightness of its color, depending on the mood of the<br /> child of divorce, because for the boy suddenly his ideal world is burst. And for a long time<br /> no one notices how he really feels, everything seems to be regulated and reorganized. Only when father and mother<br /> understand that they go separate ways like sun and moon, but will always stay together as parents for their child, his balloon begins to shine bright again.<br /> <br /> Katharina Bachmann<br /> Let's get out. About wanderlust and blowing in the distance<br /> Shaker - ISBN 978-3-86858-182-9<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Bauer, Manuel<br /> Limmat - ISBN 978-3-85791-573-4<br /> ► On April 1, 1995, a father and his six-year-old daughter leave Lhasa and write another<br /> chapter in the sad story of the flight of the Tibetan people. The photographer Manuel Bauer has, despite<br /> obstacles and controls, participated on this life-threatening journey into freedom and documented it.<br /> <br /> Barbara Beuys<br /> Insel Paperback - ISBN 978-3-458-35118-4<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Miriam Collée<br /> Aufbau - ISBN 978-3-378-01106-9<br /> ► A small house by the Alster, a large garden with swing, the organic box in front of the door. A young<br /> family seems to be at the goal of their dreams. If there was not the job offer from China: Miriam, 35, Tobias,<br /> 37, and Amélie, 3, move into a terrace house in Shanghai Downtown, as the only long nosea in an<br /> old-established Chinese neighborhood - in a city where you can buy everything, only<br /> no fresh air. Where 20 million people live, who like to go outside just in their pyjamas<br /> and walk backwards to relax. Where the nannies have names like Crispy, Toffie or Chanel<br /> and leave one in the lurch, because they have a western nose to operate. Simply funny<br /> and sometimes on the edge of a nervous breakdown, Miriam Collée reports from the family everyday life in the<br /> Middle Kingdom.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> Anagarika Govinda<br /> Paperback edition, Fischer - ISBN 978-3-596-18351-7<br /> ► Accompanied by one of the holy men of the country, Lama Anagarika Govinda traveled for many years through<br /> a widely unexplored world that is just accessible under dangers. Its path leads through the tropical<br /> jungle, over icy heights, past marvelous blue lakes to areas that no stranger had visited before him - into the monasteriea of the rocks and hermitage of walled hermits, into religious communities,<br /> whose ancient rituals and mysteries he may attend, before temple pictures of unimaginable<br /> beauty.<br /> 在该国一位圣者的陪同下，喇嘛阿那加里卡戈文达多年来一直冒险游历于未被探索过的广泛世界。他穿过热带丛林，翻越寒冷的高地，经过壮丽的蓝色湖泊，去到除了他没有前人到过的地区。他去到岩洞中的寺院和围墙中的隐士居，他进到宗教区域，在绝美的寺庙画像前参加其古老的仪式和探寻其秘密。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 14:13, 2 October 2020 (UTC)<br /> <br /> Emily Hahn<br /> Translated by: Dagmar Yu-Dembski<br /> Edition Ebersbach - ISBN 978-3-938740-89-7<br /> ► When Emily Hahn came to Shanghai in 1935, she had already established her reputation as book author and journalist with her reports for the &quot;New Yorker.&quot; She knows she will stay here as long as they let her. It is the magic of Shanghai with its cookshops, the hustle and bustle on the streets, the rickshaws<br /> and the dancing salons that seduces her. Often ironically and with fine humor, Emily Hahn lets us participate in<br /> the feeling of life in a city that is constantly changing and in which &quot;there are still things that will<br /> never change.&quot;<br /> 1935年，当艾米丽·哈恩来到上海时，她已经凭借为《纽约客》撰写的报道建立了自己作为作家和记者的声誉。她知道她会尽可能地留在这里。这就是上海的魅力，这里有小餐馆，熙熙攘攘的街道，黄包车还有吸引着她的舞厅。艾米丽·哈恩经常幽默地调侃道让我们感受在一个不断变化的城市中生活的感觉，且这个城市中“总有一些东西会永远不会改变。”--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 14:13, 2 October 2020 (UTC)<br /> <br /> 阿纳加里卡·戈文达平装版，菲舍尔- ISBN 978-3-596-18351-7 在该国一位神职人员的陪同下，喇嘛阿纳加里卡·戈文达游历多年，历经危机穿过一片广袤的处女地。他穿过热带丛林，越过雪山高原，途经壮美的蓝色湖泊来到无人之境。—他去探寻岩石山上的寺庙和围墙中的隐士居所，他进入宗教区域，在绝美的寺庙画像前参加古老的宗教仪式，探寻其久远的秘密。<br /> 埃米莉·哈恩 译者：达格玛·尤登布斯基·伊迪圣·埃伯斯巴赫- ISBN 978-3-938740-89-7 1935年，当埃米莉·哈恩来到上海的时候，她已经凭借着自己在《纽约客》上的报道，建立了自己作为作家和记者的声誉。她知道只要他们允许，自己会一直待在这里。上海的小餐馆，熙熙攘攘的街头，以及黄包车和舞厅都是充满魔力的，无一不引诱着她。埃米莉·哈恩常常幽默地调侃，让我们体会一下在一个不停变化的城市中生活的感觉，然而这里却“仍有一些永远不变的事物”。<br /> --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 15:31, 2 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Hermann Hesse<br /> Suhrkamp - ISBN 978-3-518-46106-8<br /> ► This reader book brings together the most important and most beautiful tales, narratives and reflections<br /> with Chinese motifs by Hermann Hesse as well as his essayistic and literary-critical<br /> publications and shows him as a great connoisseur of Chinese culture, literature and philosophy.<br /> <br /> Elmar Holenstein<br /> Ammann - ISBN 978-3-250-30024-3<br /> ► How different is China really? With concrete examples Elmar Holenstein works on the overcoming<br /> of europe-centered thinking. A serious culture historical comparison begins with the realization of the complexity of the<br /> own as any other culture. A Clash of Civilizations is always a Clash of Complex<br /> Civilizations. A consistent front course can not be expected. In the depths of foreign culture it can be found that there are parallels to the things that appear to us in our own as &quot;modern&quot;. Own accomplishments lose apperently their exclusivity. The West proudly points to its three centuries old »secular age«. In East Asia, the separation of religion and morality has been a peaceful aquired naturalness for two and a half thousand years. On the other hand we discover at careful comparison in our own cultural developments, which we were accustomed to view as &quot;typically Chinese&quot; or &quot;typically East Asian&quot;. Whoever believes that modalities and mentalities are culturally shaped must proof them to different<br /> Contexts.<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Ursula Krechel<br /> 3. Edition. Jung und Jung - ISBN 978-3-902497-44-4<br /> ►Franziska Tausig is one of many, the Berlin book dealer Ludwig Lazarus is another, and<br /> at the end there were eighteen thousand Jews who had been using one of the last loopholes since 1938<br /> and thus survived in the far-off foreign Shanghai. They came without a visa and illusions, with one<br /> suitcase and ten Reichsmark in their pockets, lawyers, craftsmen, art historians, and when they wanted to get along in this overcrowded city and the moisty heavy climate, then were powers of invention <br /> and energy challenged. Not everyone was able to do this after everything what was behind and before them.<br /> Breathtakingly diverse and complex talks Ursula Krechel about it. From long-term research developed the material to an extensive narrative curve, which brings the reader into a world,<br /> which is closer to oneself than expected.<br /> <br /> Helmut Matt<br /> Hess - ISBN 978-3-87336-911-5<br /> <br /> Sonja Piontek<br /> Conbook Medien - ISBN 978-3-934918-41-2<br /> ► Chen Luyao's grandmother still does not know that her turquoise couch does absolutely not fit to the rest of the furnishings<br /> and Sonja only learns after 17 months, that the hard-won driver’s license has been blocked<br /> and so she has been illegally driving through the People's Republic for a year and a half. Against to all<br /> experiences from the German Chinese restaurants, the guest is strictly not getting any rice served in Beijing …<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Lisa See<br /> Der Seidenfächer<br /> Translated by: Elke Link<br /> Paperback edition, Blanvalet - ISBN 978-3-442-36757-3<br /> ► China in the 19th century: Lily and Winter Rose grow up in a world in which girls are regarded as a burden<br /> and in which the tying of the feet should also tie their heart. At the age of seventeen both get married. Thanks to the secret writing Nushu, which is reserved for women only,<br /> the friends succeed to stay in touch. On special occasions, the two girls even write<br /> poems in Nushu on a silk fan, who is always moving between them. But no one can take their<br /> desire for love, happiness and freedom ...<br /> <br /> Vikram Seth<br /> From the English by Anette Grube<br /> Fischer - ISBN: 978-3-596-16473-8<br /> ► In 1981 the Indian writer Vikram Seth traveled through the secluded marginal provinces of<br /> China: from the &quot; heavenly lake&quot; Tianchi in the north-west, he set off far from established routes to the<br /> South –as far afield as Tibet. He completed his survey of unexplored territories with his homeward journey to<br /> India via Kathmandu.<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Jonathan D. Spence<br /> From the English by Susanne Hornfeck<br /> Hanser - ISBN 978-3-446-23415-4<br /> ► When Zhang Dai was born into a well-esteemed family in 1597, the Ming Dynasty had ruled in China for over 200 years. For the contemporaries it was unthinkable that this era, that had guided the Chinese empire to a prior unattained political and cultural prosperity, could ever end. However in 1644<br /> the Manchu of the Ming Dynasty put an end to it. Zhang Dai’s family sank into insignificance. He spent the second half of his long life in rural seclusion as a private scholar and<br /> became famous as a master of the philosophical essay and chronicler of a lost era.<br /> Jonathan Spence tells the life of this scholarly eccentric - and draws at the same time the vivid panorama of a central era of the Chinese past.<br /> <br /> Hugh Trevor-Roper<br /> Translated by: Andrea Ott<br /> Eichborn - ISBN 978-3-8218-4590-6<br /> ► Jing Shan was a Manchu scholar from a noble-minded family, who was related with the Chinese empress dowager<br /> and was closely connected to all the important personalities of the Imperial Court.<br /> When he was murdered in the course of the Boxer Rebellion in 1900, it was Edmund Backhouse, who saved Shans<br /> scrolls from the flames of the looters - including a mysterious diary, that allegedly described the events at the imperial court during the Boxer Rebellion minutely. Nine years<br /> Backhouse kept his discovery a secret until he published large parts of it in China under the Empress Dowager. The book became a classic, it still determines our image of China - and<br /> is based on a grandiose counterfeiting of Backhouse.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Nury Vittachi<br /> From the English by Ursula Ballin<br /> Zhang Jie - ISBN 978-3-293-00408-5<br /> <br /> Doris Wiedemann<br /> Delius Klasing - ISBN 978-3-7688-2606-8<br /> ► For six months the authoress traveles more than 17,000 kilometers through the most populous country in the world<br /> and experiences China beyond tourist sights and state-controlled reality. She<br /> reads maps and road signs like a memory game, attends the English lessons at a<br /> middle school, climbs countless stairs and survives some adventures with the motorbike. As well she gets to know<br /> the variety of culture and cuisine, Chinese humor and Chinese hospitality at first hand.<br /> <br /> Simon Winchester<br /> From the English by Michael Müller<br /> Knaus Verlag - 987-3-8135-0287-9<br /> ► Who was John Needham? In China he is still a famous person,who shaped our image of China<br /> decisively shaped and revolutionized it completely. Till the middle of the 20th century the West looked despisingly for China, the country was regarded as hopelessly underdeveloped and backward.<br /> It was only through Needham's work that it was proofed that China was one of the oldest high cultures in the world.<br /> <br /> Li Yiyun:Die Sterblichen李翊云？书中文名？<br /> Lu Xun: Sch?nste Geschichten鲁迅 书中文名？？<br /> Mo Yan: Die Knoblauchrevolte莫言《天堂蒜苔之歌》？2002<br /> <br /> Publishing Houses of the booth „Books on China“<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Series Sinica<br /> <br /> Vol. 26<br /> Martin Woesler:<br /> Chinese literature in German translation<br /> China as honoraray guest of the Frankfurt Book Fair 2009 – Symposium edition<br /> Bochum: European University Press<br /> ISBN 978-3-89966-293-1<br /> 200 pp., 19.90 €<br /> <br /> China is the honorary guest of the Frankfurt Book Fair 2009. The public interest in this literature, which has so far been underrepresented in Germany, is great.<br /> However, there is not much known about the trends in the Chinese contemporary literature except for keywords like &quot;youth literacy&quot;. This symposium edition shows which new publications will be realised for the book fair. Contributions are given by translators to portray the peculiarities of the translation of Chinese literature, as well as literary scholars who give an overview of the Chinese literature scene, by the Chinese author Gao Yi and by connoisseurs of literary business (book fair, publishers, agencies).<br /> One focus is the question, which Chinese literature also 'works' in German translation. The reader is sensitized to questions of the selection. The advantages and disadvantages of the Chinese governmental translation support are equally part of the contributions as commercial aspects, which influence the selection on the part of the German publishers. By the way, prejudices are to be dismantled, for example, that Chinese literature is incomprehensible because of its 'Confucianism', or that Chinese imitation literature is written in the style of the Harry Potter series.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The volume provides in extracts an well-founded overview of the Chinese contemporary literature with the bestselling authors Guo Jingming, Han Han and others, and about currents: the trend to the second book, vagabond literature, the author as a pop star (cult literature), Literature of the mega cities, Critical Surreality, Women’s Literature, Scandal Literature, the Nostalgia wave (Reinterpretation of Classics), Teenager Phenomenon, Magical Realism, Master stories and the Literature of the emotional suffering.<br /> <br /> 该书摘录了中国畅销作家郭敬明、韩寒等人对中国当代文学的有理有据的概述，并介绍了当代文学的发展趋势：第二本书走向，流浪文学，作者作为流行歌星(邪教文学)，大城市文学，批判超现实主义，女性文学，丑闻文学，怀旧浪潮(经典重释)，青少年现象，魔幻现实主义，大师故事和文学的情感苦难。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 02:49, 3 October 2020 (UTC)<br /> <br /> 该书的摘录了中国最畅销的作家郭敬明，韩寒等人的中国当代文学以及时事的概论：第二本书的趋势，流浪文学，流行歌星（邪教文学），大城市文学，批判超现实主义，女性文学，丑闻文学，怀旧浪潮（对经典的重新诠释），青少年现象，魔幻现实主义，大师故事和情感苦难文学。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 04:19, 3 October 2020 (UTC)Xiao Ting<br /> <br /> ==Yu Ni 余妮==<br /> Vol. 25<br /> Martin Woesler:<br /> Bochum: European University Press<br /> ISBN 978-3-89966-292-4<br /> 200 pp., 19.90 €<br /> This volume considers the latest Chinese bestseller lists from early 2009.<br /> <br /> Vol. 24<br /> Wolfgang Schulz:<br /> Bochum: European University Press 2009<br /> ISBN 978-3-89966-340-2<br /> 168 pp., 29.90 €<br /> <br /> The present work examines with phenomenological thought tools (Edmund Husserl) the five basic emotions (Wielant Machleidt) presented in the Chinese medicine classic Huang Di Nei Jing and their refraction in the fractal affective logic of Luc Ciompis. In both cultural objects - Huang Di Nei Jing and the affective logic of Luc Ciompis – yield striking coincidences and mutual clarifications between the chaostheoretical insights of the fractal relation of the &quot;feelings&quot; and the important thought concepts in the early Han period of &quot;approaching by corresponding affiliation Gan Lei&quot; and the &quot;personified answering event Gan Ying (Obert) &quot;or - according to J. Needham – the &quot;sympathetic responses between similiar kinds of existence&quot;.<br /> <br /> Vol. 23<br /> Martin Woesler:<br /> Bochum: European University Press 2008<br /> ISBN 978-3-89966-289-4<br /> 200 pp., 19.90 € / 20.50 € [A]<br /> <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The Chinese literature of the present at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young, partly celebrated like pop stars authors from the Middle Kingdom, who drop their books partly in millions of editions, such as Jingming Guo, seem too bizarre. Nevertheless, trends can be discerned that reflect especially the extreme process of social upheaval in China: the female literature created by Ailing Zhang with the insiders view of the Shanghaie big city singles, for example, which has found a whole generation of successors. Or the scandal literature of Shuo Wang, who has long since become an establishment. The nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel of the Three Kingdoms, for example by Dan Yu. Finally, the young, bizarre literature of an alienated city youth, who is in the end searching for the happiness of love between alcohol, drugs and party excesses. Surprising newcomer is the author Han Han, who is known for his critically acclaimed youth literature and who exerts a humorous social criticism in his new work, &quot;Tage des Ruhms&quot;, about a dropout group in the style of Magical Realism. A colorful roundel, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Vol. 23<br /> Martin Woesler:<br /> Bochum: European University Press 2008<br /> ISBN 978-3-89966-289-4<br /> 200 pp., 19.90 € / 20.50 € [A]<br /> <br /> The Chinese literature of the present at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young, partly celebrated like pop stars authors from the Middle Kingdom, who drop their books partly in millions of editions, such as Jingming Guo, seem too bizarre. Nevertheless, trends can be discerned that reflect especially the extreme process of social upheaval in China: the female literature created by Ailing Zhang with the insiders view of the Shanghaie big city singles, for example, which has found a whole generation of successors. Or the scandal literature of Shuo Wang, who has long since become an establishment. The nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel of the Three Kingdoms, for example by Dan Yu. Finally, the young, bizarre literature of an alienated city youth, who is in the end searching for the happiness of love between alcohol, drugs and party excesses. Surprising newcomer is the author Han Han, who is known for his critically acclaimed youth literature and who exerts a humorous social criticism in his new work, &quot;Tage des Ruhms&quot;, about a dropout group in the style of Magical Realism. A colorful roundel, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Vol. 22<br /> Martin Woesler (ed.)<br /> Bochum: European University Press 2010<br /> ISBN 978-3-89966-280-1<br /> 251 pp., bound, cover with special color gold, 39.00 €<br /> <br /> This festschrift is approaching to the Chinese (law) culture from different angles. It also focuses on current topics such as human rights or relevant philosophers.<br /> <br /> The articles deal among other things with views of Confucius, Menzius and Li Zhi. Ommerborn introduces Li Zhi as an individualist, who pronounces against spiritual authorities and the universal validity of higher principles, contrary to the (neo-Confucian norms of his contemporaries.<br /> <br /> The contribution of Harald Holz deals with cross-cultural foundations, he ascribes the 'golden rule' ultimately to an underlying sense, in which he defines the concept of sense as a broad striving for the appropriation of the own possibilities in interaction with all the others that come in line. Hence results in a recognition of his self and of the other as well as an 'ought', whereby all the other aims of action result as personal reciprocal.<br /> <br /> While Weber-Schäfer draws up the thesis and explains why China does not have an equivalent counterpart to the European concept of justice, Woesler, takes the opposite view in his essay.<br /> Moccia argues that in the classical China tradition and customs were before the law, and the law of Confucius was little appreciated. He wanted to speak of legislation in China only since the nineteenth century and describes the condition of today's society as a transition to a law-based system.<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Paul deals with the political dimension of the Menzius reception, especially in terms of the human rights, which are more progressive in Menzius than in Plato and Aristotle. He demonstrates that Menzius was in Western history of reception mainly interpreted as universalistic.<br /> While many of the assembled contributions deal with the actual legislation in China, Sapio's contribution fills a gap in the area of the more difficult gray legal practice: On the basis of diplomatic sources and examples, it proves that the practice of &quot;shuanggui&quot; exists in China, in form of arrest without charge, used by the Communist Party against corrupt officials or members of the party.<br /> <br /> Weyrauch deals in his contribution with the decision-making practice for Chinese asylum applications for Germany. If you are a member of the religious movement &quot;Falun Gong&quot; or a minority, you have resisted against the one-party rule or censorship, or if you have become a victim of the one-child policy it will be decided depending on the degree of persecution.<br /> In China rituals compete with the right: the Chinese adopted Christianity, like before various other religious practices and mixed it with their own popular religious rites and customs. In the so-called &quot;Chinese rites controversy&quot;, two mission camps battled each other, who supported this adaptation or rejected it. Von Collani evaluates in her contribution numerous documents, which are now accessible, of the approximately one hundred years of ritual strife.<br /> <br /> Another area which is not directly connected to the main theme of the law are political guidelines: In his contribution using the example of armaments policy, Aßmann examines an aspect of security policy, here the case of an American missile defense system for Japan and Taiwan. He discusses possible power shifts in the region and warns of a new arms race. Ostendorf draws attention to the shadows of the economic boom in China, the environmental pollution. He draws future scenarios on how this destruction can be managed.<br /> <br /> 保罗（Paul）谈到孟子处世思想的政治意义，特别是在人权方面，孟子的思想比柏拉图和亚里斯多德的思想更为进步。他表示，孟子在西方处世历史中主要为普遍主义所解释。虽然许多研究的对象是是中国的实际立法，但萨皮奥(Sapio)的研究成果填补了法律实践灰色地带的空白，而这一研究是更为困难的领域。研究成果如下：基于外交资料和实例，表明“双归”存在于中国，它是中国共产党以未经起诉而逮捕的形式来查处腐败官员或腐败党员的手段。<br /> <br /> 韦罗克（Weyrauch）致力于为中国人申请德国的政治庇护。根据迫害程度的大小，判断该人是否为宗教运动“法轮功”的成员或者少数民族，抵制过一党统治或一党审查制度；或者是否为计划生育的受害者。在中国，宗教仪式与权力相抗衡。中国人对待基督教的方式与对待过去各种宗教的方式类似，他们将基督教引进国内，并将其与本国的宗教仪式和习俗相结合。在所谓的“中国礼仪之争”当中，两方势力相互对抗，针对基督教华化表明了支持或反对的态度。冯·柯兰霓（Von Collani）在其众多的研究成果中探讨了该历经约一百年的宗教冲突，这些研究资料如今均可获取。<br /> <br /> 除宗教外，另一个与法律主旋律并无直接联系的领域则是政治指导方针。在以军备政策为例的研究中，阿斯曼（Aßmann）研究安全政策的一个方面——美国针对日本和台湾的导弹防御系统，探讨地区可能发生的权力转移，并发出了新一轮军备竞赛出现的警告。奥斯坦多夫（Ostendorf）关注到中国经济繁荣所带来的环境污染问题，并提出解决该问题的未来方案。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 02:26, 3 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Vol. 21<br /> Chen, Hui<br /> Bochum: European University Press 2010<br /> ISBN 978-3-89966-277-1<br /> 253 pp., Paperback, 29.90 €<br /> <br /> The terminology translation is a special case of the translation. Despite many parallels to the general translation, there are some differences which cause problems which not only translators in terminology transfer have to cope with, but also the respective expert groups, throughout the terminology work:<br /> <br /> a) The main difference between the two sides is: the text has to be translated as a whole, which offers the technical context in which the individual terms and expressions are embedded, and thus can fuction indicatory for the translation, but existst at the terminology transmission not in the way like it can be found at the general translation. The topic in a terminology transfer is a single subject terminus or a particular set of terms. Therefore the translator first needs to acquire the appropriate expertise, which is then used as a &quot;text&quot; when translating the terms.<br /> <br /> b) The non-presence of a concrete client, which has to be considered as a rule, means that the translator and other experts have to take more responsibility with regard to the quality control.<br /> <br /> c) The involvement of different translators at one and the same terminological &quot;text&quot;, which is rare and, if so, coordinated to a limited extent, as well as a time-delayed transmission of this &quot;text&quot; has a &quot;terminology diversity&quot; as a result, which acts often more confusing than as an useful effect. This means for the terminology work that an additional task, terminology collation, is to be mastered.<br /> It should also be noted that the partial incompatibility of two parallel terminologies makes the terminology transmission more difficult.<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Vol. 20<br /> Winfried Woesler, Lü Yuan:<br /> Bochum: European University Press. 2006<br /> ISBN 978-3-89966-228-3<br /> 409 pp., 29.90 €<br /> <br /> Representative selection of 54 Chinese poets with a total of approx. 100 poems mostly from the 1970s and 1980s, selected by recognized Chinese poets of the older generation Lü Yuan. New edition of the 384-pages bi-lingual Reclam anthology, published in 1992, for the first time printed in Chinese writing and thus also readable for students of sinology. Presented is the earliest generation of poets, which are writing in modern language: Ai Qing, Feng Zhi, Xin Di, Su Jinsan and Fang Jing. The second generation, who made a name for themselves in the anti-Japanese resistance war, were Lu Li, Peng Yanjiao, from the poetry circle July Zou Difan and Lü Yuan, from the circle of Nine Leaves Zheng Min and Chen Jingrong. The third generation, that despite the functionalization of literature in the 1950s, persistently focused on poetry only for the sake of poetry, is represented by Shao Yanxiang, Li Ying, Gong Lu, Cai Qijiao and Liu Shahe. The fourth generation is the vanguard of the younger generation with Bei Dao, Shu Ting, Gu Cheng, Jiang He and Fu Tianlin, their initially singled voices have long become representative voices of the people. The fifth generation is represented by Yu Jian, Han Dong, Cao Jian, and Xu Demin. These student poets discover fabrics for their subject matter directly in the everyday life.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Vol. 19<br /> CD<br /> Based on the paper edition of the Akademie-Verlag Berlin 1985. Bochum: European University Press 2006<br /> 1446 pp. DIN A4, with different counting<br /> License for use: 29.90 € (natural persons),<br /> 49 € (institutions, per workplace), delivery on CD only directly from publisher to final customer<br /> ISBN 978-3-89966-207-8<br /> The dictionary is continually updated and extended (cost-effective updates are available every year).<br /> <br /> Approx. 100,000 entries, effective 2006. Restricted is also to look for German terms, so that the dictionary can be used bidirectionally in contrast to the paper edition.<br /> A syllabary has been added to the present digital form for a faster search for the desired syllable from which one can see where the syllable begins, as a page number, which can be entered directly into a search field any time. In addition, you can also open the page by scrolling.<br /> <br /> If the pronunciation of a Chinese character is not known, you must search in the character index as in the book form, and search the current character number next to the character you are looking for by scrolling the pages in the dictionary text to the top left or right. To speed up the search process, two syllabaries were added to, a tone syllabary (page I) and one for character numbers (page II). Edited by Gunnar Richter. Authors of the paper edition: Helga Beutel, Horst-Dieter Gasde, Anja Gleboff, Ilse Karl, Gunnar Richter, Christiane Schwarz, Gottfried Spies, Eberhard Treppt, Horst-Dieter Gasde (administration), edited by Horst-Dieter Gasde, Ilse Karl, Christiane Schwarz; Gunnar Richter, Gottfried Spies.<br /> <br /> <br /> 卷 19<br /> 光盘<br /> 基于1985年柏林的Akademie-Verlag纸质版。波鸿：欧洲大学出版社，2006年<br /> 1446页DIN A4，具有不同的计数<br /> 使用许可：29.90€（自然人），<br /> 49€（根据机构，每个工作场所），仅以CD形式直接从发行商交付给最终客户<br /> 书号978-3-89966-207-8<br /> 该词典会不断更新和扩展（每年都会提供具有成本效益的更新）。<br /> <br /> 大约 100,000个条目，从2006年开始生效。此外，还必须查找德语术语，以便该词典与纸质版相比可以双向使用。<br /> 音节已添加到当前的数字形式中，以便更快地搜索所需的音节，从中可以看到该音节从何处开始，作为页码，可以随时将其直接输入到搜索字段中。 此外，您还可以通过滚动打开页面。<br /> <br /> 如果不知道中文字符的发音，则必须像在书本上那样在字符索引中进行搜索，并通过滚动字典上的页面，在左上角或右上角的搜索框中搜索所需字符旁边的当前字符。 为了加快搜索过程，添加了两个音节，一个音调音节（第一页）和一个用于字符编号的音节（第二页）。 由Gunnar Richter编辑。 论文版本的作者：Helga Beutel，Horst-Dieter Gasde，Anja Gleboff，Ilse Karl，Gunnar Richter，Christiane Schwarz，Gottfried Spies，Eberhard Treppt，Horst-Dieter Gasde（管理），由Horst-Dieter Gasde, Ilse Karl, Christiane Schwarz; Gunnar Richter, Gottfried Spies编辑。 --[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:53, 2 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> Vol. 18<br /> Thilo Diefenbach<br /> Bochum: European University Press 2005<br /> 190 pp., &lt;Ger., Chin.&gt;<br /> ISBN 978-3-89966-169-9 (3-89966-169-9), 19 €<br /> <br /> The Chinese authors Liu Jiming (born in 1963), Zhang Wei (born in 1956) and Liu Qingbang (born 1951), who have been valued in their homeland for years by the readership and literary criticism, are largely unknown to us; translations of their works into German have not yet been available.<br /> <br /> This book presents the three authors in detail, and then gives them the opportunity to speak for themselves in selected short stories and essays. Hence Thilo Diefenbach gives an insight into their narrative complete work and in a hitherto little-studied section of China's contemporary literature. Just in a time when the international perception of the country is limited to the observation of the events in the cities and the Chinese literature largely concentrates on the city life, Diefenbach would like to remind that the still strongly agrarian coined China has also a literature that focuses on the everyday life in the countryside.<br /> <br /> Thilo Diefenbach was promoted in 2003 at the University of Cologne with a dissertation on the subject contexts of violence in modern Chinese literature. From 2004 to 2005 he worked as a scholarship holder of the Fritz Thyssen Foundation on a research project whose results this book contains. Since February 2006, he has been conducting a study on the literature of the Northern Dynasties (386-581) as a scholarship holder of the DAAD at the Chinese Academy of Social Sciences in Beijing.<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Vol. 17<br /> Cordula Hunold<br /> 2006, Paperback, 145 pp., 1 audio CD 15 min.<br /> ISBN 978-3-86515-031-8 (3-86515-031-4)<br /> 13,90 €<br /> <br /> Study in the field of contrasting phonology / phonetics of German and Chinese, which deals with similarities and differences in the segmental and suprasegmental range. It deals with the specific articulation and intonation problems of German Chinese learners and gives hints and practice suggestions for Chinese teachers, who want to improve and make their ChaF instruction more versatile, and those who are interested in the phonetics / phonology of the modern Chinese or even wanr to improve their pronunciation.<br /> <br /> Bd 16<br /> Stefan Messmann<br /> Bochum: European University Press 2005<br /> Paperback, 167 pp.<br /> ISBN 978-3-86515-038-7 (3-86515-038-1)<br /> 19,90 €<br /> <br /> The foot binding probably began in the early tenth century, spreading from the north to the south over the next centuries, whereby it was less practiced in the south. It was forbidden several times over the history, recently in 1949, but still today in some places one can see old women with bandaged feet.<br /> <br /> There are different theories about their cause. Most of them try to explain foot binding with 1. status symbol, 2. the necessity to keep the women chaste, 3. ideal of beauty, 4. sexuality, 5. fetish, 6. fashion, 7. demarcation to other peoples and 8. combat of enemies. Of these explanations, the domination of the men seems most plausible.<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Vol. 15<br /> Hartmut Walravens<br /> Bochum: European University Press 2005<br /> Paperback, 271 pp.<br /> ISBN 978-3-86515-027-1 (3-86515-027-6)<br /> 29,90 €<br /> <br /> The volume offers a wealth of bibliographic evidence, through which important materials can initially be developed, which are not contained in the existing specialist bibliographies. The foreign countries, one of the important &quot;Cottaschen Journals&quot;, and the magazine for the literature of foreign countries provide numerous solid contributions about East Asia for the 19th century: travel reports, political and military representations, translations from Chinese and Japanese literature Unknown. The same applies to the short-lived magazines Spirit of the East and Ho Ping Pao, the latter a news sheet of the Chinese delegation in Berlin after the Second World War. Chinese medicine is particularly popular today, but the medical texts were collected only very little. A register opens up the medical treasures of the Paris National Library. The complete translations of the poetic works of the two Tang poets Tu Fu and Han Yü, published by the excellent specialist Erwin von Zach, were made accessible by new editions by the Harvard University. Index and register allow quick access to masterpieces of Chinese poetry.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> Vol. 14 (3 books)<br /> Tsau Hsuä-tjin, Gau Ë<br /> <br /> Edited and with an introduction by Martin Woesler, with an afterword by Hartmut Walravens<br /> Bochum: European University Press 2006-2007, 3 volumes, ISBN 978-3-86515-010-3 (3-86515-010-1), € 59 per part, Vol. I Tsau Hsüä-tjin, translated by Rainer Schwarz 2006 978-3-86515-011-0 (3-86515-011-X), Vol. II Tsau Hsüä-tjin, supra. Rainer Schwarz, 2006 978-3-86515-012-7 (3-86515-012-8 ), Vol. III Tsau Hsüä-tjin, Gau Ë, trans. Martin Woesler 2007 978-3-86515-013-4 (3-86515-013-6)<br /> <br /> The most famous Chinese novel for the first time in complete German translation.<br /> <br /> To part 1<br /> The goddess Nüwa does not use the 36501. stone anymore for the repair of the sky roof. This feeds a flower with dew drops. Finally, the stone is reborn as the protagonist Djia Bau-yu to whom the dew must be repaid in form of tears. The novel tells about the growing-up of Bau-yüs with his cousins in the ‘Garden of the Great Perspective’ against the backdrop of the rise and fall of the administrator family Djia in the time of the last emperors of the Ming Dynasty. However the autobiographical background is the first emperor of the Manchurian Tjing Dynasty (1644-1911).<br /> Bau-yü spends carefree children's and youth days with his cousins.<br /> In the first part of the novel, a triangular relationship develops between the talented, androgynous Djia Bau-yu, the gritty and pragmatic Hsuä Bau-chai and the desperate for love intelligent but sickly Lin Dai-yi.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> To part 2<br /> Bau-yü, talented son of the influential large family Djia, grows up together with his cousins almost carefree in the paradise-like 'Garden of the Great Perspective'. In the second part of the novel he experiences the degeneration and the moral decay of his family, the political and financial descent. The ideal world of childhood threatens to break at the transition to adolescent.<br /> Signs of imminent disaster cast a pall on the love of the androgynous Djia Bau-yü to his devoted but sickly, still-suffering and resigned cousin Lin Dai-yi.<br /> Has their love a future in a time of arranged marriages and against the backdrop of the family's decline?<br /> <br /> To part 3<br /> Gradually, the twelve girls of the Garden of the Great Perspective marry and move away. Also Djia Bau-yü believes to marry his cousin Lin Dai-yü. But when the veil is aroused, it is Hsii Bau-tschai. Lin Dai-yü dies of grief at the same time.<br /> The garden orphans. The jade stone is lost. The family falls into disgrace with the Emperor, the titles are withdrawn. The property is being robbed and plundered. Some family members are arrested and exiled. The Duchess-mother dies. The decline of the extended family Djia seems to be sealed.<br /> <br /> Only after Djia Bau-yü understands his predestined destiny and decides to live as a Buddhist monk, the tide is turning: Djia Bau-yü passes the state examinations together with his cousin Djia Lan. Titles, reputation, and goods are restored. The Djia family is looking forward to a happy future with Djia Lan and Bau-yüs son Djia Guee.<br /> But where is Bau-yü?<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Vol. 13<br /> Martin Woesler<br /> Bochum: European University Press 2003, x, 242 pp., ISBN 978-3-89966-004-3 (3-89966-004-8)<br /> 14,90 €<br /> <br /> Documentation of an exemplary discussion of politics and literature in the People's Republic of China. From September 1991 to January 1992, this debate caught the attention of the Chinese public and also made international headlines. Throughout the period, the author has been able to follow the local discussions in Beijing.<br /> The dispute proceeds like a bad crime: The resignation of the Minister of Culture Wang Meng on September 4, 1989, is linked to the story of &quot; Zäher Brei &quot; from the time of the democratic movement. The narrative, a political grotesque, is then awarded by a liberal literature magazine. There is a storm of indignation among the orthodox Marxists, which vents it’s spleen in two press articles. Apparently one would like to tackle the liberal literature of the 1980s at all. The former Minister of Culture fears a new political hate campaign and - a novelty in the history of the People's Republic of China –strains a lawsuit against authors and backers. This is followed by a paper- warfare, which course is followed eagerly by the Chinese intellectuals.<br /> <br /> This dispute illustrates the tug-of-war between the reformers and reformist opponents among Chinese politicians and intellectuals in the consolidation phase after 4 June 1989. In their pleading, the debates are not confessing themselves without a wink as a supporter or opponent of the mash.<br /> <br /> This volume contains the most important documents of the 'slugfest' in German translation. According to the narrative (p. 4 ff.), the chronology (pp. 55 ff.) Provides a first overview of the debate, which is documented in the following 17 texts. The background is provided by a biography of Wang Meng (p. 161 ff.), explanations of the tense relationship between politics and literature (p. 184 ff.), and a commentary essay (p 204 ff.) References, an overview of the reception, further bibliography and a sign glossary form the appendix.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Bd 12<br /> Martin Woesler, Junhua Zhang eds.<br /> China's digital dream<br /> The impact of the Internet on Chinese society<br /> Bochum: European University Press ²2003, 332 pp.<br /> ISBN 978-3-86515-190-2 (3-86515-190-6)<br /> (1st ed. 2002: ISBN 978-3-934453-90-6 (3-934453-90-2), 274 pp.)<br /> 39.00 €<br /> <br /> A dream is a vision undoubtedly, part of the vision has already become reality.<br /> Through the endeavours made by China´s political elite in the past two decades. But what exactly does that vision look like, what is the reality of China´s Internet and to what extent has this modern medium influenced and how will it continue to influence the life of people in china? In Order to find out answers to these questions, we aked scholars from China, Hong Kong, the USA, and Europe engaged in the study of Chinese internet and politics to offer<br /> their thoughts and to present the results of their research. This book is intended to be an arena of discourse between scholars approaching the study of China from different perspectives and hopefully will help readers to gain an insight into China´s modernization strategy and ist praxis.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> CONTENTS<br /> Part I Proactive and Reactive Stances towards the Internet —Internet in China and Southeast Asia<br /> 1. The Internet and Civil Society in China and Southeast Asia. Sh.Kalathil, pp. 31-46<br /> 2. Telecom Taxonomy: How are the One Party States of East Asia Controlling the Political Impact of the Internet? Nina Hachigian, pp. 47-80<br /> <br /> Part II Social and Economical Impacts<br /> 3. Digital Divide and E-Learning – Chances and Problems in China’s Approach. Junhua Zhang, pp. 81-108<br /> 4. The Reality and Potential of Online Trading in China. Haifeng Huang / Ren Ma / Lin Jian / John Liang, pp. 109-120<br /> 5. Internet Use in China–A Comparative Analysis. Guo Liang/Bu Wei, pp. 121-144<br /> <br /> Part III Globalization and the Clash of Civilizations<br /> 6. Accession to the WTO and the Development of China’s Digital Media. Xupei Sun, pp. 145-164<br /> 7. The Internet Transforms China into an &quot;Open Society&quot;. M. Woesler, pp. 165-187<br /> <br /> Part IV Nation-Building and Information Warfare<br /> 8. Assessing China´s Efforts in Constructing an e-government. Peter Lovelock / John Ure, pp. 187-211<br /> 9. Is the &quot;wolf&quot; coming? - An empirical study on cultural in-formation spread on Chinese websites. Peng Lan, 212-230<br /> 10. Technology, Markets and Nation-Building in Chinese Cyberspace. Christopher R. Hughes, pp. 231-246.<br /> 11. Between Rhetoric and Reality – A Critical Examination of the Theories and Praxis of Information Warfare in China in the Light of Post-Iraq War 2003. Junhua Zhang, pp. 247-270.<br /> <br /> Part V Governance and Information Policy<br /> 12. Development of E-government in China – Present Status, Problems, and Future. Xinjiao Tan, pp. 271-294.<br /> 13. Internet Censorship Focus: 'Human Rights not found' in the Chinese Web. Martin Woesler, pp. 295-325<br /> Index etc.<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> CONTRIBUTORS<br /> Wei Bu, Chinese Academy of Social Sciences, Beijing, China<br /> Liang Guo, Chinese Academy of Social Sciences, Beijing, China<br /> Nina Hachigian, Director, RAND Center for Asia Pacific Policy, USA<br /> Kai Haifeng Huang, Vice President, Association of Chinese Finance Professionals, San Francisco, USA<br /> Christopher R. Hughes, Director, Asia Research Centre, Senior Lecturer, International Relations, London School of Economics, United Kingdom<br /> Lin Jian, Vice President, Shenzhen Prosperity Systems Co. Ltd., Shenzhen, China<br /> Shanthi Kalathil, Project on the Information Revolution and World Politics, Carnegie Endowment for International Peace in Washington, D.C., USA<br /> Lan Peng, Associate Professor, School of Journalism of Renmin University, Beijing, China<br /> John Liang, President, Global Vision Consulting Company in Santa Clara, USA<br /> Peter Lovelock, Deputy Director, Telecommunications Research Project, University of Hong Kong, China<br /> Ren Ma, Senior Consultant, Beijing Yingce Investment Consulting Company, Beijing, China<br /> Xupei Sun, Professor, Huazhong University of Science and Technology, China<br /> Xinjiao Tan, College of Foreign Languages, Renmin University of China, Beijing, China<br /> John Ure, Director, Telecommunications Research Project, University of Hong Kong, China<br /> Martin Woesler, Lecturer, EALC, Gutenberg University Mainz, Germersheim, Germany<br /> Junhua Zhang, Research Associate, Center for Chinese and East Asian Politics, Free University Berlin, Germany<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Bd 10<br /> Bochum: European University Press 2003<br /> 109 pp., ISBN 978-3-932329-08-1 (3-932329-08-2)<br /> 9,95 €<br /> The present collection includes contributions to the theoretical involvement with language learning software and test reports, which are intended as decision aids for pupils and teachers.<br /> Introduction to the extended new edition. P. 2, observations on the learning of languages with the computer p. 3-7, background of evaluation patterns for electronic media p. 7, thinking impulses and classification of selected literature p. 8-11, The test criteria catalog of the State Institute for School and Continuing Education S (Biaozhun Hanyu jiaocheng) p. 25-33, Biaozhun Hanyu jiaocheng - Critical Experience Report (Cornelia Menzel) p. 34, Examination of two Chinese Learning Tutors (Katharina Kehrer), pp. 35-55, Chinese Assistant 2.10 pp. 56-57, Chinese Character Tutor p. 58-59, Interactive Chinese, Professional Version p. 60-64, Interactive Chinese, Version ABC p , Language Learning Chinese p. 66, Mao's Alphabet p. 67, Wenlin 1.0 p. 69-70, Wenlin 3.1 p. 71, Dewenlin (German version of Wenlin) p. 72-74, Further Chinese Learning Programs p -Learning Chinese p. 77, Web info for Chinese -Lehrer p. 81, German as a Foreign Language: Language Course German 1-2-3 pp. 84-85, Lina and Leo p. 86-90, Japanese: Krea Kanji p. 91-95, Spanish: Interactive Language Teacher Spanish (Anja Rossig , Pp. 96-99, English: Encarta (Andreas Schnieber) pp. 100-102, Interaktive Sprachentrainer English (Sebastian Schröer) pp. 103-106, French: tmx French (Sylwia Wyszynski) p. 109-110, The author p. 111, Bibliography p. 112, List of electronic media p. 114-115, List of illustrations p. 116-117, selection index p. 118.<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Vol. 9<br /> Martin Woesler<br /> Bochum: European University Press 2003<br /> 181 pp., ISBN 978-3-932329-15-9 (3-932329-15-5)<br /> 24,50 €<br /> <br /> This book is an understandable guide on how to use Chinese under Windows 95, 98, ME, 2000, XP without additional programs.<br /> A reference book on 100 errors, which have occurred in Chinese under Windows across Europe with understandable solutions.<br /> A documentation of the first beginnings of Chinese on the computer until the Unicode.<br /> A practical guide for Internet, e-mail and text processing with Chinese.<br /> <br /> Vol. 8<br /> [Chinese / German]<br /> Karl-Heinz Pohl (ed.)<br /> Bochum: European University Press ²2003<br /> 215 pp., ISBN 978-3-934453-30-2 (3-934453-30-9)<br /> 19.90 €<br /> <br /> To break his back for five bushels of rice a day, he was himself to pity and quit the public service. In the country he has moved, has cultivated fields and gardens and praised what he loved: chrysanthemums and pines, even children, country people, old people, drinking with friends, silence, seclusion. He understood how to praise as to lament, to think about the vicissitudes of life, and to play down his own hardships with a dash of self-irony: hardly anything tormented him, like the idea that the wine might go out.<br /> He lived 1500 years ago and his poems are as of today. The Chinese regard Tao Yuanming as the greatest poet between Han and Tang time; countless painters are inspired by him.<br /> <br /> Vol. 7<br /> Gregor Paul, Martin Woesler (eds.)<br /> Bochum: European University Press²2003<br /> Ii, 198 pp, ISBN 978-3-932329-13-5 (3-932329-13-9)<br /> 15.34 €<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Bd 6<br /> Martin Woesler, ed.<br /> The Modern Chinese Literary Essay - Defining the Chinese Self in the 20th Century - Conference Volume, Bochum: European University Press ²2003, 327 pp., ISBN 978-3-934453-15-9 (3-934453-15-5)<br /> 35.79 €<br /> <br /> Contents<br /> <br /> Introduction<br /> The Freedom of Intellectual Exchange pp. 13-14<br /> Preface: The Flourishing of the Chinese Essay pp. 15-16<br /> <br /> Keynote: “Let us Assign the Essay its Proper Place in Chinese Literature” pp. 17-28<br /> Martin Woesler, University of Mainz, Germany<br /> <br /> The Emergence of the Modern Chinese Essay: Precursors and Influences of a Major Literary Form - The Aesthetic of Marginalism and the Impact of the West on the Chinese Essay pp. 29-42<br /> Martin Woesler, University of Mainz, Germany<br /> <br /> The Modern Essay and Urban Culture in The Republican Period<br /> Formation of Modern Subjectivity and Essay: Zhou Shoujuan’s “In the Nine-Flower Curtain” pp. 43-68<br /> Jianhua Chen, Harvard University, Cambridge, USA<br /> Eileen Chang and the Modern Essay pp. 69-100<br /> Nicole Huang, University of Wisconsin, Madison, USA<br /> <br /> Perspectives on Ideology in the Essay<br /> Zhu Ziqing, Frantz Fanon, and the Fierce White Children pp. 101-116<br /> Daniel A. Fried, Harvard University, Cambridge, USA<br /> Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture pp. 117-134<br /> Charles A. Laughlin, Yale University, New Haven, USA<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> The Author's Self in Essays of Place and in Qian Zhongshu's Criticism<br /> A Reading of Traditional Gestures in Modern Chinese Essays of Place pp. 135-148<br /> Alexandra R. Wagner, Yale University, New Haven, USA<br /> Qian Zhongshu's Essays pp. 149-176<br /> Hong Yu, University of Münster, Germany<br /> Cultural Polemics in Contemporary China<br /> From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature pp. 177-192<br /> Ban Wang, State University of New York at Stony Brook, New York, USA<br /> Mulish Essays: the Genre of Zawen in Contemporary China pp. 193-214<br /> Mary Scoggin, Humboldt State University, Arcata, USA<br /> Nostalgia without Memory: Reading Zhang Wei's Essays pp. 215-230<br /> Jie Lu, University of the Pacific, Stockton, USA<br /> Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's “Religious Sublime” pp. 231-240<br /> Xinmin Liu, Wesleyan University, Middletown, USA <br /> Discussion of this chapter: The xiaopin wen between xianshi sanwen and zawen pp. 241-246<br /> King-Fai Tam, Trinity College, Hartford, USA<br /> <br /> Regional Perspectives: Taiwan and Hong Kong<br /> The Changing Character of the Essay Subgenres pp. 247-290<br /> Ming-Lee Cheng, Taiwan Normal University, Taipei, Taiwan<br /> The Short Miscellaneous Essay with Hong Kong Characteristics pp. 291-310<br /> Wai Leung Wong, Chinese University of Hong Kong, China<br /> Overview of the Contemporary Essay<br /> Martin Woesler, University of Mainz, Germany<br /> The 20th Century Chinese Essay - Characteristics, Actors, and Trends pp. 311-328<br /> A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing pp. 329-340<br /> Modern Chinese Literature and the Essay Genre: A New Perspective pp. 341-360<br /> Contributors pp. 361-372<br /> Index pp. 373-<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> vol. 5<br /> Martin Woesler, ed.<br /> The Chinese Essay in The 20th Century<br /> Bochum: European University Press ²2003<br /> 496 (xlii, 205, 229) pp.<br /> ISBN 978-3-934453-14-2 (3-934453-14-7)<br /> €/US$ 25.00<br /> <br /> Essay-writing is an acknowledged hallmark of Chinese writers and intellectuals, past and present. The personal essay, in particular, has been widely popular ever since the Ming Dynasty and was a major genre of modern Chinese literature. The more public essay-form <br /> called zawen (miscellaneous essay), the invention of which is attributed to Lu Xun, has been used by at least two generations of modern Chinese intellectuals as a powerful weapon of social and political criticism, often from a dissident angle. All of these are well known in China but seldom studied in the West.<br /> It is time, therefore, that we welcome the publication of a volume of 20th century Chinese essays carefully selected and edited by Martin Woesler. Dr. Woesler has been a most conscientious young scholar from Germany who embarked upon such an endeavor with a singular devotion, especially in view of the fact that his mother tongue is not English. His exemplary zeal must have been contagious, for he was able to gather a like-minded group of translators who all contributed their time and energy to this magnificent volume. As his official sponsor for a year's research visit at Harvard, I am honored to be asked to write this perfunctory preface, a small task I do with pleasure for both scholarly and personal reasons. (Though no expert in this genre I am currently practicing essay-writing myself by contributing to a weekly column in Chinese for a Hong Kong newspaper.)<br /> Readers of this volume can readily discover that a most welcome feature is its comprehensiveness: samples from both the modern and contemporary periods are represented. Although ample coverage is given to writers from the Mainland, the celebrated poet and essayist from Taiwan, Yu Kwang-chung, is also included. Needless to add, this selection is chosen from a much larger collection of essays from Woesler's massive research data bank stored in his personal computer. I am sure he will welcome scholars who wish to gain access. I am delighted that after many years of hard work his labor is finally bearing fruit, and I invite all interested readers to sample its variegated taste.<br /> Leo Ou-fan Lee, July 14, 1999<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Bd 4<br /> Manuel Fries<br /> China and Cyberspace. <br /> The Development of the Chinese National Information Infrastructure<br /> Bochum: European University Press ²2003<br /> 220 pp., ISBN 978-3-934453-13-5 (3-934453-13-9)<br /> 25.00 €<br /> <br /> &quot;As a China consultant and academic whose interest in China goes as far back as 1952, I was delighted to be asked to write an introduction to &quot;China and Cyberspace&quot;, a detailed and very up-to-date report on the development of the Chinese national information infrastructure, succinctly presented in this book by Manuel Fries.<br /> I had the pleasure of first meeting Manuel Fries in Beijing, where he undertook research for this book. Mr. Fries, who speaks fluent Chinese, mingled with ease with Chinese bureaucrats and private entre-preneurs in order to obtain the information for this publication. No doubt, this skill comes from both his training and his extensive research experience. This ideal combination allowed him to compile the vital background information on China's current communications industry, which is at the centre of this book.<br /> Much of the detailed information contained in this volume is not readily available in any form and therefore fills a vital gap as a reference tool for anybody who seeks vital information about China in Cyberspace. The appended bibliography is also of vital use for this purpose.<br /> I am delighted to be able to recommend this publication to all readers who have an interest in contem-porary China and its rapid progress in information technology.&quot;<br /> Dr. Wolfgang Frick<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Vol. 3<br /> Martin Woesler (ed., transl.)<br /> &lt;Chin., Ger.&gt;<br /> Bochum: European University Press ²2003<br /> 300 pp., ISBN 978-3-932329-05-0 (3-932329-05-8)<br /> 15,29 €<br /> <br /> Bilingual edition with the most famous Chinese essays of the 20th century.<br /> In 1917 the Chinese essay experienced under a strong Western influence its rebirth in baihua, the written common speech. The 1920s and 1930s saw a May of essay writing: in newspapers and magazines these short contributions were a modern medium of the enlightenment in China. Since 1927, the essay was increasingly politicized as a propaganda tool. The conflict between the free (Zhou Zuoren) and the politically committed essay (Lu Xun) was decided by the latter. In the 1990s, the essays of the republics, with the exception of the ideologically affirmative texts, are widely more received than those of the present.<br /> <br /> Vol. 2 (3 subvolumes)<br /> Martin Woesler<br /> Bochum: European University Press ²2003, xiii, 900 pp., 978-3-932329-04-3 (3-932329-04-X)<br /> € 46.00<br /> <br /> The three volumes are divided into the period 1911-1949, 1949-2000 and bibliography. To subvolume 2:<br /> In the 1980s and 1990s, the Chinese essay experienced its second flowering phase after the Republic era. Anthologies, book series, periodicals and conferences are devoted to the essay. The fast-moving nature of society requires short, diverting texts. The individual consciousness is strengthened and the essay is the most immediate form of subjective expression. Also the interest in the discussion of socio-political issues increases. The young generation of the essayists, that are born after 1949, seems to write free from ideological influence for the first time. However, short-term political topics take up less space than in the 1920s and 1930s. The essay is consciously perceived as a genre again: In the 1980s the essay scholarship began in Taiwan, some years later in the People's Republic of China.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> Vol. 1<br /> Gunnar Richter<br /> <br /> Bochum: European University Press,<br /> 104 pp., ISBN 978-3-932329-02-9 (3-932329-02-3)<br /> 13,90 €<br /> NEW: TRADITIONAL CHINESE VERSION ISBN 978-3-932329-45-6 (3-932329-45-7)<br /> <br /> This grammar of the Chinese is aimed at students of the Chinese language (beginner and advanced) and is designed as a summary for teaching purposes. It is based on the tried and widespread textbook 'Praktisches Chinesisch', but is enriched by examples from other sources. All examples are marked with Pinyin transcription. Different habits in the use of grammatical terms in German and Chinese are taken into account. This book is also intended as a reference book for grammatically interested sinologists.<br /> <br /> Zhang Yushu, Winfried Woesler, Horst Thomé (Hgg.)<br /> Bo¬chum: Multi¬Lin¬gua (from Vol. 4 Königshausen &amp; Neumann), ISSN 1616-4016, yearly, Vol. 7 2006, Vol. 6 2005, Vol. 5 2004, Vol. 4 2003, Vol. 3 2002, Vol. 2 2001.8, Vol. 1 2000.8, 311 pages, ISBN 978-3-932329-12-8 (3-932329-12-0): 15,29 € (Vol. 1, 2) 49,50 € (from Vol. 3)<br /> <br /> GERMAN CHINA ASSOCIATION<br /> Bulletin of the German China Association<br /> since 1957, ISSN 1436-8048, 18 €<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> 1/2007<br /> German China Association (eds.)<br /> From Chinese novels, the Chinese literature in the sign of the &quot;boom&quot;: Liu Jiming, Zhang Wei, Liu Qingbang and their response to the big city literature, Teodorico Pedrini, an Italian court musician in the palace of the emperor Kangxis, the awarding of the Orient-und-Okzident Prize to Ieoh Ming Pei, Josefine Huppertz's studies on Chinese seafaring and the question to what is different in China and why<br /> Issue 50 2007<br /> 1. ed. 30.06.2007, Paperback<br /> 92 pp.<br /> ISBN 978-3-932329-54-8<br /> 36,00 Eur [Ger]<br /> <br /> 1/2006<br /> Issue 49 2006/1<br /> 1. ed. 30.06.2006, Paperback<br /> 118 pp.<br /> ISBN 978-3-932329-48-7 (3-932329-48-1)<br /> 36,00 Eur [Ger]<br /> <br /> 2/2005<br /> German China Association (eds.)<br /> Issue 48 2005/2<br /> 1. ed. 23.12.2005, Paperback, 82 pp.<br /> ISBN 978-3-932329-46-3 (3-932329-46-5)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 1/2005<br /> German China Association (eds.)<br /> Year 48 2005/1<br /> 1. ed. 1.7.2005, Paperback, 82 pp.<br /> ISBN 978-3-932329-44-9 (3-932329-44-9)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 2/2004<br /> German China Association (eds.)<br /> Bulletin of the German China Association <br /> Issue 47 2004/2<br /> 1. ed. 23.12.2004<br /> Paperback<br /> 100 pp, ISBN 978-3-932329-42-5 (3-932329-42-2)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 1/2004<br /> German China Association (eds.)<br /> Issue 47 2004/1<br /> 1. ed. 30.06.2004<br /> Paperback<br /> 98 pp.<br /> ISBN 978-3-932329-40-1 (3-932329-40-6)<br /> 18,00 Eur[Ger] / 18,60 Eur[At] <br /> <br /> 2/2003<br /> German China Association (eds.)<br /> Issue 46 2003/2<br /> Paperback, ed. 15.12.2003<br /> 90 pp.<br /> ISBN 978-3-932329-39-5 (3-932329-39-2), 18,00 Eur [Ger] / 18,60 Eur [At]<br /> 1/2003<br /> German China Association (eds.)<br /> <br /> Issue 46. 2003/1, 1. ed. 2003, Paperback<br /> 80 pp., numerous black and white Picture(s)<br /> ISBN 978-3-932329-38-8 (3-932329-38-4), 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> Still available older issues: Vol 3 / 1998.12, 66 pp, 1999.5, 116 pp, 1999.12, 66 pp, 2000.5, 78 pp, 2001, 96 pp, 2001.12, 38 pp, 2002.7, 2002.12<br /> <br /> [English / German / Chinese]<br /> European University Press, ISBN 978-3-89966-012-8 (3-89966-012-9), about 80 pages, more than 100 color photos, 29,90 €<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> Chinese-Western cultural comparison<br /> Series: Inter Culturas<br /> ISSN 1613-6195<br /> Published by Hans-Peter Schütt, Ute Gahlings, Guido Rappe<br /> <br /> Interculturas means &quot;between the cultures&quot; and refers not only to the cultural diversity within the European present and the past, but also to the plurality that transcends space and time, in which Europe itself is always one of many cultures. Accordingly, Inter Culturas is an interdisciplinary series for studies on Europe, its culture and its history of ideas, in which not only intracultural but also intercultural work will appear.<br /> <br /> The following priorities are envisaged:<br /> - History of European Philosophy and Literature<br /> - gender research and European feminism<br /> - Europe in cultural comparison<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Vol. I-IV Guido Rappe: ISBN 978-3-86515-001-1 (3-86515-001-2 ), 4 volumes, approx. 3500 pp., Berlin et.al .: European University Press 2003-2008, with the purchase of the total work 285 euro; 1. volume 1040 pp., ISBN 978-3-86515-002-8 (3-86515-002-0)<br /> 59,00 €<br /> <br /> The four-volume &quot; Interkulturelle Ethik &quot; attempts to acquire transcultural commonalities, which can serve to improve the philosophical understanding between people, using the example of the ancient cultural comparison between Europe and China. From a modern philosophic perspective follwing intensive examination with both the classical texts of the moral theories and the practice of ethical techniques is intended to illustrate the strengths and weaknesses of the different directions in order to promote a mutual learning process. In this way, a conceptual foundation of moral-philosophical thought is aimed at, which is no longer based on the dominance of European thought, but exposes the view to an ethics of the equated, peaceful coexistence of human beings<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Vol. I<br /> Guido Rappe<br /> xxv, 1002 pp., 2004<br /> ISBN 978-3-86515-002-8 (3-86515-002-0)<br /> 59 €<br /> <br /> In today's era of the coalescence of cultures, the question of cross-cultural ethics is of crucial importance. In view of the ever-repeated assertion that these great differences between European and outer-European thinking stand in the way, a critical review of such theses is made and proved that these are usually unauthorized. By following certain dominant European perspectives from ancient times to modern era, the volume exposes the ethnocentric aspects of the tradition of postconventional approaches. On the other hand, there are intensified similarities in time and space that are not sufficiently taken into account by many modern cultural-relativistic approaches. The volume tries to initiate a new intercultural dialogue on ethics by breaking down prejudices on both sides.<br /> <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Vol. II, Part I<br /> Ethical Anthropology I.<br /> The body as the foundation of ethics,<br /> ISBN 978-3-86515-003-5 (3-86515-003-9), 1. Tlbd. 2005 € 59<br /> 2 Tlbd. Together 118 €<br /> <br /> In contrast to the dominant scientific concepts of human beings, which have especially gained a stronger public impact through recent research on brain physiology, but also in a critical delimitation towards mental metaphysical ideas, which have determined the ethical discussion of the European tradition for 2500 years, this volume deals with the elaboration of fundamentals of an anthropology that is based on ethical phenomena and the moral quality of man. These are understood as a specific way of human existence, whose roots reach deep into the life of the body. Between the neuronal fire on the one hand and the 'spirit' of the 'soul' or the 'consciousness' on the other side, a critical consideration is to be found in empirical phenomena, with the concept of the body, its vitality, its mnemonic potency and its ability to communicate an orientated terminological foundation, on which both the further personal ethics with the founded moral emotions on it as well as an intercultural comparing of ancient ethics concepts can build up.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Vol. II, Part. 2<br /> ISBN 978-3-86515-003-5 (2) (ISBN-10 3865150039), 2 parts 2006 59 €<br /> 2 parts together 118 €<br /> <br /> A modern ethics needs a conceptual foundation which adequately takes the emotional and intellectual aspects of man into consideration. This is offered in the present Ethical Anthropology with the term of the person, to which the understanding belongs the term of the personal identity, the freedom of will and responsibility as well as the attitude and the conscience. Its development requires a phenomenological-historical view on the understanding of feelings and thinking in European culture, which reveals those aspects which were largely pushed back by the dominant branch of metaphysics in its relevance to the moral foundation. From this perspective, personal ethics explores its basis in emotional experience, without an understanding of moral quality is impossible, and this is discussed with the example of the feeling of sympathy which is found in a moral sense. But moral feelings alone are not sufficient, but require critical support through reason and through an effort for self-cultivation. Only then can they form part of the balanced path to the success of life, which allows man to counter his moral potency in the fulfillment of his life.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Vol. III<br /> ISBN 978-3-86515-004-2 (3-86515-004-7) 59 €<br /> <br /> The virtue ethics, which has been intensified discussed since the second half of the 20th century, is now a major alternative to the established formal approaches of the metaphysical European tradition of ethics. This is because it can look back on a long history which coincides with the beginning of written philosophy in Greek and Chinese antiquity. The knowledge of the high ethical level of these approaches has been pushed back into the background for a long time, due to the ideological attitudes which have taken place during European Christianization and the persistent misleading polemic. Another non-critical and problematic effect was the uncritical use of the term 'deontological', which had been torn out of the antique context and applied to concepts that were directed against virtuous approaches. The present volume aims to help to overcome these shortcomings and confusion. In doing so it elaborates an intercultural perspective that, based on the ancient Chinese virtue ethics, offers a detailed comparison with Greek approaches. The result of this detailed presentation and intensive philosophical penetration shows not only the cross - cultural anthropological relevance of virtuous ethics, but also the fact that the ancient theories of self - cultivation can also open up perspectives for today 's people who can provide valuable guidance in a time of progressive formalization on the way to a subject-centric self-perfection.<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Vol. IV ISBN 978-3-86515-005-9 (3-86515-005-5) 59 €<br /> <br /> ORDERING<br /> Ruhr University, P.O. Box &quot;Bochumer Universitätsverlag&quot;, Universitätsstr. 150, 44801 Bochum, Germany Tel. +49 (0) 234 701360, Fax 701230, email info@blaetterwald.net, Publisher's delivery for the European University Press and the Bochum University Press</div>

Wu Kai https://bou.de/u/index.php?title=20200928_trans&diff=98460 2020-10-03T04:39:45Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Link to return to [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage].<br /> <br /> Dear students, this is the homework of Sep 28, due in October 2020.<br /> <br /> =Task=<br /> An English book on contemporary Chinese literature was submitted to the Chinese editor. He has not enough time and asks his students to help to translate it paragraph by paragraph into Chinese. So this time it is easier than last time, because the translation is into Chinese. He also asks the students to help improve the translation of at least one fellow student und asks them to sign their translations with the signature button (buttons on the top, third from right).<br /> <br /> Since it is a book on contemporary Chinese literature, some quotations from Chinese novels in English need to be identified in the original language (Chinese) instead of retranslate the translations into Chinese.<br /> <br /> ==Cao Runxin 曹润鑫==<br /> <br /> The Chinese contemporary literature at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young writers from the Middle Kingdom, who are often celebrated like pop stars, publish their books partly in millions of copies, such as Guo Jingming郭敬明, seem too bizarre. This cult literature is translatable, however loses its cult status.<br /> ==Chang Huiyue 常慧月==<br /> <br /> Nevertheless, trends can be seen that reflect the extreme social upheaval process in China: Zhang Ailing 张爱玲 created women's literature with the inner view of the Shanghaier big city singles, for example, which has found a whole generation of successors. Or the vagabond literature (liumang wenxue 学 文学) of a Wang Shuo, which has become long since an establishment and whose current is attributable to the scandal literature.<br /> ==Chen Han 陈涵==<br /> <br /> The wave of nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel &quot;Three Kingdoms,&quot; e.g. from the professor and television presenter Yu Dan.<br /> Finally, the young, realistic literature with autobiographical traits and fictive elements of an alienated urban youth, which ultimately seeks the happiness of love between alcohol, drugs and party excesses. This literature certainly belongs to youth literature, since the protagonists belong to the younger generation. The authors themselves remain ephimatic, as long as they have not made the leap into the establishment, as Mian Mian.<br /> ==Chen Hui 陈惠==<br /> <br /> Surprising newcomer is the author Han Han, known for his critique of youth literature, who is bearing a humorous social criticism in his new work »Glory Days«, about a group of drop-outs in the style of Magical Realism, or almost a critical Surrealism.<br /> A colorful dance, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> ==Chen Jiangning 陈江宁==<br /> <br /> Before the Frankfurt Book Fair 2009, this little booklet will give an orientation guide and a small, certainly very subjective overview of the Chinese literature, as it appears at the book fair.<br /> 在2009年法兰克福图书展之前，这本小册子将会提供一个入门介绍，同时也会给予一个小小的，主观性十足的中国文学概述，这是毋庸置疑的，就像它在书展上展示的那样。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:39, 2 October 2020 (UTC)<br /> <br /> 在举办2009法兰克福图书展之前，这本小册子将对展会进行一个初步介绍，并呈现给人们一个小小的、颇具主观性的中国文学概要，就像图书展会上展现的那样。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 12:51, 2 October 2020 (UTC)<br /> 在2009年法兰克福图书展之前，这本小册子会提供一个入门介绍，并呈现中国文学泛泛而十分主观的概况，就像其在书展上展示的那样。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:40, 3 October 2020 (UTC)<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> <br /> Who is also interested in the actual Chinese literature of the present day (because the book fair shows a section, which for various reasons is not at all representative of the Chinese contemporary literary literature) should be referred to the book &quot;Chinese Cult Literature 2008/2009&quot;.<br /> <br /> Bochum/Munich/Beijing/Shanghai<br /> <br /> Summer 2008/ Summer 2009<br /> <br /> Martin Woesler<br /> ==Chen Jingjing 陈静静==<br /> <br /> Chinese literature at the Frankfurt Book Fair<br /> <br /> China - the big department store<br /> <br /> With China's economic prosperity since 1978 came the leisure time. Unlike in Western countries, where this time has been filled with consumption, the new middle class of the Chinese use their leisure time in two ways:<br /> ==Chen Sha 陈莎==<br /> <br /> On the one hand, one has an irresistible ambition to catch up with the Western advance in time-lapse, to learn from the West and to overcome it, which is reflected in travel, learning English and foreign studies. Even at the party school management courses are taught.<br /> ==Chen Sunfu 谌孙福==<br /> <br /> On the other hand, according to the zero point of the Cultural Revolution, ten years without school education in 1966-1976, the Chinese have a greed for knowledge - they devour Internet, newspapers, books and are willing to pay enormous fees for private schools.<br /> <br /> 另一方面，以十年文革（即1966年-1976年这十年间学校教育停滞不前）为基准点，中国人渴求获得知识-他们如饥似渴地浏览网页、报纸和各类书籍，愿意花重金上私立学校。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 12:34, 2 October 2020 (UTC)<br /> <br /> 另一方面，经历文革十年（1966-1976）教育缺席的中国人求知若渴——他们如饥似渴地学习互联网，阅读报纸书籍，甚至愿意花一大笔钱去上私立学校。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 13:14, 2 October 2020 (UTC)<br /> <br /> 另一方面，由于文化大革命（1966-1976）使得中国在这期间没有学校教育，受教育程度变得极低。但是中国人极度渴望从网络，报纸，书本获得知识，他们不惜花巨款去私立学校。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 04:16, 3 October 2020 (UTC)<br /> <br /> ==Chen Yongxiang 陈永相==<br /> <br /> Both trends in leisure design coincide with a flood of translations into Chinese.<br /> ==Cheng Yusi 成于思==<br /> <br /> The situation in Western countries is quite different, the interest for China is rather an exotic and reflectes in esotericism and few works that are translated. These are then selected to serve or even enhance the foreign character of the Chinese image. One still believes in the West, as the pioneer of modernization it is the place where the action is happening. <br /> ==Deng Jinxia 邓锦霞==<br /> <br /> Newspapers are not yet as exciting as in Hong Kong and Japan because of the state information monopoly in China and so one reads in the subway no newspapers but books. China is just different. The books cost only 2 € to 3.50 € and sometimes reach millions of copies. And this, although the texts are long before on the Internet. Some authors have even found a publisher only after having a fanbase of their blog on the Internet.<br /> ==Ding Daifeng 丁代凤==<br /> <br /> Cult literature<br /> <br /> The Chinese bestsellers of contemporary literature of 2009 appear to be hardly compatible with the German book market, in which China is honorary guest of the Frankfurt Book Fair. Many stories of the mostly young, often celebrated like pop stars writers from the Middle Kingdom appear to be too bizarre, with their books partly written in millions, like Guo Jingming (26 years, Shanghaier, Tears against the Stream C 2007, first place of the Chinese bestseller list 2007, circulation: 550,000). Without life experience, Ms. Lin Huafeng has to raise her daughter alone after the divorce. She has to prostitute herself and her mental conflict worsens daily. The author, the Shanghai student Guo Jingming is a cultureless enfant terrible, but loved by the youth. What bears his name is immediately sold out. In the meantime, he has given his name to works by colleagues, and his book series best sellers (C 2008-2009) is a collage of love tales, comics, photographs, styling tips, etc., wrapped in foil so that all the gimmicks do not Fall out. Here, the advertising of the proper lipstick is added to the story. This cult literature is a teen phenomenon, the authors of this youth literature are pop stars. It is translatable, but however it loses the cult status. The German publishers have not chosen the books which the Chinese read, but the German readers might find interesting. In this article, these books, which are only available at the Book Fair from October, are already being presented.<br /> ==Fang Jieling 方洁玲==<br /> <br /> Chinese world literature<br /> <br /> This is the famous wedding scene from the novel &quot;Dream of the Red Chamber&quot; (C 1759 G 2009) by Cao Xueqin (1715-1763?). This was the last novel of world rank written in China, and this is 250 years ago. The novel is available in all major languages, and in German only a shortened paraphrase has been written down to one third. This shortcoming is fixed by the book fair: the European University Press presents a three-volume bound edition of books with more than 200 historical illustrations and a more favorable paperback edition of 2350 pages at the book fair. It was only in the 1920s and 1930s that the literature in China in times of the republic was able to develop again, and Lu Xun's stories from this period are reissued from the publishing house Unionverlag to the book fair. Another classic, Qian Zhongshus (1910-1998) essay collection &quot;Written on the Edge of Life&quot; (C 2000), is translated but is still searching for a publisher. Masterful tales are certainly also Yu Huas (49) &quot;Brothers&quot; (C 2005).<br /> ==Gan Fengyu 甘奉玉==<br /> <br /> Vagabond literature<br /> <br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;,<br /> The German reader as a tourist in Peking may have been approached like this by the flying merchants.<br /> ==Gao Mingzhu 高明珠==<br /> <br /> This scene comes from the story &quot;Running Through Zhongguancun&quot; (C 2008, G 2009). Here the German reader can slip for the first time into the role of the seller, who is embodied by the 25-year-old Huang. Xu Zechen (31, lives in Beijing) has drawn the milieu authentically, the characters with dry humor and yet refreshingly lively. He describes a life between hot pavement and basement hole, between the dream of making big money and bitter setbacks, the daily cat-and-mouse game with the police. He experiences the world of the crooks as shark pond and as a conspiratorial community, in which everyone gives someone the shirt off one’s back, lose their existence, but get up again, he experiences the arbitrariness and corruption of the police. Here, worlds collide: the army of unemployed agricultural workers, who become small-scale criminals, and the urban population. The world of youth, who loves the freedom of the street, and the elderly, who appreciate the security of the wealth. This is one of the most recent and most promising stories from China, which show us a completely different China than the perfectly enacted Olympia organizer.<br /> ==Gong Yumian 龚钰冕==<br /> <br /> The novel &quot;Die Taschendiebe&quot; also fits into this realistic (C 2007, G 2009), Liu Zhenyuns (51), who was ranked No. 1 in the bestseller list in China in 2008, is a mix-up thriller about a interchanged bag, whose content can become dangerous for several important people. These types of stories appear several times at the book fair. In China, they are devoured by the young, urban audience. Wang Shuo (50) had created this kind of vagabond literatur, and his novel &quot;Playing for Thrills&quot; was sold 250,000 times in 2007, and stayed in place 6. One is getting deeper into storytelling with Jia Pingwa’s novel &quot;Happy&quot; (C 2007), which is about a farmer who sells his kidney to the city and finds a brittle happiness with a prostitute. It was sold in China 100,000 times. His even more famous novel &quot;Ruined City&quot; (C 1993) is also almost completely translated and is still looking for a publisher in Germany.<br /> ==Gu Dongfang 顾东方==<br /> <br /> Critical Surrealism <br /> <br /> This quotation comes from the story &quot;Glory Days&quot; (C 2007 G 2010) of another young author, Han Han (26). He describes the experiences of a Chinese dropout troop. Han Han enjoys a similar cult status as the same-aged Guo Jingming. He is equally famous as a critical blogger, sings his own pop songs (ghost town strategy), and drives car racings on the weekend. He also wrote his first stories as a pupil (Triple Door C 2000), became famous through a literature casting, writes humorously with a pointed pen, hardly anyone has got what was coming to one. In the 1990s, with his &quot;critical student literature&quot;, he provoked a teenage fever, brought out a sociocritical humorous novel with &quot;Glory Days&quot;, which sold itself in 2007 with others of his books about 200,000 times and thus ranked 13th Of the Chinese bestseller list. The author says he wanted to write in the style of &quot;Magical Realism&quot; for the first time, the novel is very angry humorous, sociocritical and grotesque in some places, it can be better described as Critical Surrealism. His latest book, &quot;His Kingdom&quot; (C 2009), ranked first place in the Chinese bestseller list in April 2009.<br /> ==Guan Qinqing 管钦清==<br /> <br /> Underground literature<br /> <br /> ... so writes Mian Mian (38 years old, lives in Shanghai, &quot;La la la&quot; HK 1997, G 2000, C 2009, &quot;Your night my day&quot; G 2004, C 2009). With her revealing description of her own life as a partygirl, she has shaped the Shanghai youth, Mian Mian has become a lifestyle. Ultimately she also seeks the happiness of love. She was the first to write about sex, drugs and alcohol, and was promptly banned in China. Therefore it is remarkable that the KiWi publishing house is brave enough to present her latest novel Panda Sex (C 2009, G 2009) at the book fair. Also in France her novel came out and was immediately praised by the daily newspaper &quot;Le Monde&quot;. And even in China times change: her last four novels were finally released in February 2009 and were sold out immediately.<br /> ==Gui Yizhi 桂一枝==<br /> <br /> Yearnings<br /> <br /> Literature of yearning has a great market in China. With this literature one can escape the materialistic everyday life in order to be carried away into an exotic but strangely familiar world. This literature of yearning is served by two sides in China: through the Tibet exoticism and the nostalgic wave. And Tibet is a topic that is well received abroad, therefore a safe investment for publishers, even though the stories from Tibet may still be too exotic and do not show the true Tibet. Also in China, Tibet is simply ‚in’. The presentation of the own Lama's shrine in the bedroom is the highlight of every house party. Even men wear carved cherry stone bracelets. The more superstition associated with these fetishes, the more chic.<br /> <br /> ==Guo Lu 郭露==<br /> <br /> Tibet exoticism<br /> <br /> so the story &quot;Distant Sources&quot; (C 2005, Unionsverlag G 2009) by the Tibetan author Alai (50) begins. Yes, even Tibetan authors are among the winners of this year's book fair. They are particularly in demand by Swiss publishers. At the confederate Chinabooks several young Tibetans are represented: Alai, Jamyang, Taering Öser, Tenzin Tsundue (34). Is it surprising that Ma Jian (56), who left Beijing for the first time and went on journeys, promptly went on a pilgrim to Tibet? &quot;Red Dust&quot;(C 2003). 220,000 times, the &quot;Tibet-Code&quot; of the hermitic He Ma, which has not yet been published in German, has sold itself, followed by three sequels. Gao Yi, who lives in Düsseldorf, writes adventure stories as well with Tibet exoticism and fantastic elements: &quot;The Tibetan Child&quot;, &quot;The Oracle&quot; and &quot;The Roman Ring&quot; (C 2004). At the same time, a flood of nonfiction books about Tibet appears in German-speaking countries, often with mysterious titles such as &quot;The Secret Life of the Dalai Lamas. The Story of the God-kings of Tibet &quot;(G 2007, PB 2009),&quot; Fleeing through Ice and Snow &quot;,&quot; The Way of the White Clouds&quot;or &quot; Escape from Tibet&quot;.<br /> ==Han Haiyang 韩海洋==<br /> <br /> Nostalgia<br /> <br /> Through China flows a nostalgic wave, the overthrown Communist ideology has been replaced by the return to traditional values. In 1974 Confucius had been dismantled in a campaign, since 2007 Confucius institutes have been opened all over the world. Also on the bestseller lists this literature stands at the top. The professor Yu Dan (Beijing) interpreted Confucius in a television series. Her book &quot;Confucius from the Heart&quot; (C 2006, G 21.08.2009) with modern commentaries around the Confucius classics &quot;Talks&quot; landed in China with 503,000 sold copies in 2007. It makes Confucius in simple language, with lively pictures and Current examples from everyday life. Since the trend in China goes to the second book, i. That a second book of the same kind is being postponed to a successful book, she continued to comment on the philosopher Menzius. Does this commentary also work in Germany, where one hardly knows the original texts? At the book fair, the Confucius commentary is also available, the Droemer publishing house has taken the risk and presents the comment in German translation, but not as in the Chinese edition with original text in the appendix. This nostalgia literature in China also includes comments on the classic novel &quot;Three Kingdoms&quot; (C 2006) by Yi Zhongtian (62), which ended up in 2007 with 340,000 copies of the bestseller list, the historical novel about the last imperial dynasty. “The Qing Prime Minister” (C 2007) by Wang Yuewen (46) and &quot;War Drums&quot; (C 2006) by Dou Liang (55) about old Beijing, all of them had at least 200,000 sold copies in 2007.<br /> <br /> 怀旧风<br /> <br /> 中国正掀起一波怀旧浪潮。传统价值观的回归代替了已经推翻的共产主义意识形态。1974年，孔学在一场运动中逐渐推出历史舞台，但是从2007年开始，孔子学院已向全世界开放。同时孔学相关书籍也在畅销书的榜首。于丹教授（北京）把孔子翻拍成了电视剧。她的书《论语心得》（C 2006, G21.08.2009）带有孔学经典《论语》的现代评论2017年在大陆发售已超过503，000册。这本书使得孔学理论以一种简单的语言，生动的图片和日常生活的例子呈现出来。自从这孔学潮流在中国推出了第二本书，i. 相同类型的第二本书的成功销量是要晚一些。于丹继续在考究着哲学家孟子。是否这种评论会在德国起到相同的效应呢，毕竟德国对原著几乎都不了解？在书会上，可以见到孔学评论相关书的身影，德语出版社冒险展出了其德语版本，但是和中文版本不同的是在附录上没有原文。这种怀旧文学在中国还包括了易中天（62）的评论关于经典小说《三国志》（C 2006），一部描述最后一个帝王朝代的历史小说，其销量在2007畅销排行榜年达到了340，000册。 王跃文（46）的《秦始皇》和窦亮（55）描写老北京的《战鼓》（C 2006），一共销售了200，000册在2007年。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 03:32, 3 October 2020 (UTC)<br /> <br /> ==Han Wanzhen 韩宛真==<br /> <br /> Women's literature<br /> <br /> The literature of the mega cities looks different in Beijing and Shanghai: just as in Beijing, the vagabond literature of a Wang Shuo is at home, Shanghai also developed with Zhang Ailing (1920-1995) her own literature, in this case an autobiographical literature of women that describes the emotional life of Shanghai single women. Mian Mian is the latest appearance of this woman literature, although her female figures often seem to depend on their partners. However, Mian Mian is the only female writer that is taken seriously and translated for the book fair. In &quot;Frauenboxen&quot; by Bi Shumin (57) the female figures seem, as the title suggests, more self-consciously, therefore the book has been sold 180,000 times. Her feminine novel &quot;Female Psychologist&quot; (C 2007) was so successful that several volumes were published. On the bestseller list, she is closely followed by Annie Baobei (34), with 175,000 first-person narrations sold, under the title &quot;Fat years, meager years&quot; (C 2007), in which the young women see the world with their own eyes. With 160,000 copies follows the marriage counselor follows &quot;Holding Hands &quot; (C 2007) of Wang Hailing (55).<br /> <br /> 大城市的文学作品，像北京和上海，是大不相同的：就比如说在北京有王朔的痞子文学；而在上海流行的是张爱玲的文学小说，这种文学属于女性自传文学，主要描述了上海单身女性的情感生活。棉棉是女性文学代表人物的新兴面孔，尽管她所塑造的女性角色看起来似乎非常依赖她们的伴侣。然而，她是唯一一个认真对待书展，并且为书展做翻译的女性作家。在毕淑敏的作品《女性》中，女性人物的形象正如标题一样似乎显得更有自我意识，因此这本书畅销18万次。毕淑敏的女性小说《女心理家》（C 2007)创作地非常成功，因此出版了很多册。在畅销书单列表中，紧随其后的是安妮宝贝，她的第一人称叙述小说热销175000本，其中有一本叫《素年锦时》，主要讲述了年轻的女性用她们自己的视角看待世界。王海鸰的《牵手》成为了婚姻顾问的参考指导书，160000本复印版下发至婚姻顾问。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 03:56, 3 October 2020 (UTC)<br /> <br /> ==He Changqi 何长琦==<br /> <br /> Literature of mental distress<br /> <br /> Finally, there is still the literature of mental distress, mastermind Mo Yan has pointed out abysses of human behavior in his &quot;Sandalwood Death&quot; (C 2001). The framework is the German colonial history in China, the railway construction and the revolt of the boxer. Mo Yan describes a fictitious story in which Guomindang General Yuan Shikai, with the last imperial headman, wants to conduct a cruel execution by torture against a man who rebelled after his family had previously been desecrated and killed by Germans. Contrasted with this, Mo Yan portrays the last opera singer of the Maoqiang local opera from the region around Gaomi. The language is pathetic, symbolic and emotionally charged. The description of the inner conflict of the physician, who is told to keep the victim alive until the German colonizers see him, is shattered. His only advice &quot;Remove the sandalwood!&quot; is not obeyed, since this is precisely the torture. In this book the search for a translator was more difficult than usual, thanks to Chinese government-funded support, it was finally realized at the publishing house Insel-Verlag. Equally doubtful is the wisdom, which may result from the influential book &quot;Wolf Totem&quot; (C 2004 G 2009) by Jiang Rong (63), since the author wants to explain the Chinese people's folklore:<br /> ==Hu Baihui 胡百辉==<br /> <br /> This also means hope for freedom and democracy. A good adventure novel, but the moral of the story, natural laws instead of civilization, in today's materialistic Chinese reality the wrong advice. The book is stagnating in the middle of the bestseller lists in China, but remains there until 2008. It was heavily advertised, Random House paid for the German edition 20,000 € in license rights after Goldblatt had laid for the English 100,000 USD - somehow the investion has to roll in and so it is called in the advertising texts &quot;The most successful book since the Mao Bible&quot; - this decision is left to the reader.<br /> ==Hu Huifang 胡慧芳==<br /> <br /> Discrepancy Chinese Literature - Book Fair<br /> <br /> All these currents will be represented at the Frankfurt Book Fair. Some of them are preparing to refute the withering verdict of the sinologist Wolfgang Kubin from 2006, who referred to the Chinese literature since 1949 as &quot;garbage&quot; and especially attacked writers like Mian Mian, making her one of the most controversial writers. Although she has long been forbidden in China, had no benefits from the Chinese government's promotion of translation, and does not belong to the carefully selected semioffical writers' delegation, besides the short story &quot;Running Through Zhongguancun&quot;, narratives such as &quot;Brothers&quot;, &quot;Taschendiebe&quot; and perhaps a classic like &quot;Dream of the Red Chamber&quot;, will be Mian Mian's book &quot;Panda Sex&quot; one of the bestseller of the book fair. In the following editions we will introduce individual authors and currents and begin with her - Mian Mian.<br /> ==Hu Jin 胡瑾==<br /> <br /> Bestseller list of Chinese authors 2007<br /> <br /> Last update: 9.11.2007, researched and reviewed in note form<br /> <br /> In the question of what to understand by contemporary literature, one has to clarify various assumptions:<br /> ==Ji Tiantian 纪甜甜==<br /> <br /> Is the complete literature taken into account, or are certain categories of literature excluded? In the current case, we restrict us to literary books (no nonfiction books, for which there are often separate bestseller lists). Thus every objectively well-sold book will be named. It is only in a second step, in the evaluation for the German book market, that children's literature is excluded.<br /> ==Jiang Fengyi 蒋凤仪==<br /> <br /> Are the books objectively presented by sales figures? Is this the only criterion for evaluating commercial success? This has the implication that high-minded literature usually ends up further down on the bestseller list as the dime novel. An exception in the West may be e.g. Harry Potter, who has besides his youthful target group, also at least in the English original literary claim.<br /> ==Jiang Hao 姜好==<br /> <br /> It is striking that there is hardly any accordance between the list of bestsellers with the list of actually translated literature and also not with the list of government-sponsored translations. The most important reason is that the bestseller list in 2007 is the current literature, as it was read in China at the beginning of 2008. But for the book fair the publishers have commissioned much older books for translation. Only in a few titles is the translation market already as fast as e.g. in the translation of American novels into German, e.g. &quot;Wolf Totem,&quot; &quot;Confucius from the Heart,&quot; or Mian Mian's &quot;Panda Sex.&quot;<br /> ==Jiang Qiwei 蒋淇玮==<br /> <br /> This bestseller list and the evaluations were presented at the technical lecture &quot;Rotes Kornfeld&quot; in the German Publishers and Booksellers Association for the Frankfurt book fair on the 29th April 2008, so that the publishers who had sent their lecturers and the other translators could consider the presented titles in the planning. Some of the titles were realized. Others may stay interesting for a later time.<br /> ==Kang Haoyu 康浩宇==<br /> <br /> For the development of the number of translations from Chinese I refer to appropriate investigations. <br /> <br /> First of all, the full list, followed by the criteria after the list has been cleared with regard to the German book market.<br /> ==Kang Lingfeng 康灵凤==<br /> <br /> Note: The book cover and photos of the authors were provided by the publishers for reproduction and are reproduced here for this scientific study. Copyrights and reproduction rights of the illustrations remain at the respective publishers or rights holders.<br /> ==Kong Xianghui 孔祥慧==<br /> <br /> 1st place: Guō Jìngmíng / Guo Jingming郭敬明(born 6.6.1983, lives in Shanghai), 550.000 sold copies, »Tears against the Stream«郭敬明Changjiang literature and art publishing house, 5/2007, 340 pp. Rating: 1.0. Without life experience, Ms. Lin Huafeng has to raise her daughter alone after the divorce. She has to prostitute herself and her mental conflict worsens daily.<br /> <br /> This novel could also become a bestseller within the framework of China literature in Germany.<br /> The Shanghai student Jingming Guo is something like a cultureless enfant terrible, grades worse than Han Han, but loved by the youth.<br /> <br /> His series &quot;Bestseller&quot;最小说is rated 4.0. The novels are collage-like and also composed of foreign languages. They are illustrated in color and presented with all sorts of tips and gimmicks (recipes, make-up, pictures) etc. Further details and translation, see next chapter.<br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;<br /> <br /> ==Kong Yanan 孔亚楠==<br /> <br /> 2nd place: Yú Dān / Yu Dan于丹(born 28.6.1965, lives in Beijing), &quot;Thoughts on the conversations of Confucius&quot; &quot;论语&quot;心 得, 503.000 copies sold, Zhonghua Book Company, 11/06 157 pp. , Evaluation score: 1.7.<br /> 第二位:于丹，(生于1965年6月28日，现居北京)，《于丹&lt;论语&gt;感悟》、《于丹&lt;论语&gt;心得》，销量503,000册，中华书局，11月6日发行，第157页，评分:1.7.--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> Yu Dan is the moderator of a TV discussion on Confucius. In this book she explains the two-thousand-years-old classic, which the Chinese memorize by referring to the present.<br /> 于丹曾主持过一档关于孔子的电视评论栏目。在这本书里，她解读了一部写于两千多年前的经典名著，直至今天，这本著作<br /> 仍被中国人提及。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> The translation presents a special challenge because the German reader lacks the background knowledge. Here, the publishing house found the solution to attach the original in an existing translation in the appendix.<br /> Translator: Johannes Fiederling (Munich), Publisher: Knaur.<br /> 阅读这本著作对于德国人来说是一个特殊的挑战，因为他们缺乏与之相关的背景知识。出版社找到了一个解决办法，将一篇已有的翻译附加在原著的附录上。译者:约翰内斯·费德林(Johannes Fiederling)(慕尼黑），出版社:科努尔(Knaur)--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> <br /> Yú Dān于丹»Yu Dan’s Notes on Zhuangzi« &quot;《庄子》心得Zhonghua Book Company, Rating: 4.0.<br /> This is a typical second book. This should only be tackled when the first book becomes a success.<br /> 《于丹&lt;庄子&gt;心得》，中华书局，评分:4.0.<br /> 这本书是于丹第二本经典书籍。只有读懂第一本书后，才能读懂这本书。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 03:19, 3 October 2020 (UTC)<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> <br /> 3rd place: Yì Zhōngtiān / Yi Zhongtian 天 中天 (born 8.2.1947, lives in): »Chronicles of the Three Kingdoms« Volume 1-2品三国（上下), 340.000 sold copies 2007, Shanghai Literature and Art Publishing House , Vol. 1 7/06 248 pp., Vol. 2 3/07 274 p. Rating: 3.0.<br /> <br /> Explanations on the classical novel &quot;Three Kingdoms&quot;, typical title of the nostalgic wave. Even less popular with the German public.<br /> <br /> 4th place: Zhèng Yuānjié / Zheng Yuanjie郑渊洁 (born 15.6.1955): »Pipi Lu; Rock the Wolf &quot;皮皮鲁总动员;大灰狼罗克, 285.000 sold copies. Rating: 4.0. Children's books.<br /> <br /> 5. Ráo Xuěmàn / Rao Xueman 饶雪漫 (born 1972), &quot;Sweet-sour&quot; 甜酸 11/07, 235 pp., New World publishing house, 260.000 sold copies. Rating: 3.7.<br /> Love story for teenagers / sentimental kitsch.<br /> <br /> Sandglass Volume 1-3, 沙漏, 279 pp., Gegenwartswelt Publishing House, Rating: 3.7.<br /> Love story for teenagers / sentimental kitsch.<br /> ==Lei Kuangxi 雷旷溪==<br /> <br /> 6th place: Wáng Shuò / Wang Shuo: 王朔 (born 23.8.1958): &quot;Playing for Thrills&quot; 玩的就是心跳, 250.000 sold copies. Rating: 1.3.<br /> Already translated by Ulrich Kautz, Diogenes 5/1997.<br /> <br /> 7th Place: Yáng Hóngyīng / Yang Hongying杨红樱(born 1962), &quot;Children’s Stories about Love&quot;爱的童话, 240.000 sold copies. Rating: 4.0. Children's books<br /> <br /> 8th place: Cáo Wénxuān / Cao Wenxuan曹文轩 (born 1.1954) »Fantasy: King's Books - The Yellow Pagoda«大王书——黄琉璃, 225.000 sold copies. Rating: 4.0. Fantasy.<br /> <br /> 9th place: Wáng Yuèwén / Wang Yuewen王跃文 (born 26.9.1962) »The Qing Prime Minister« 大清相国, 217.500 sold copies, 3/07, 493 pp.<br /> Rating: 3.7. Historical civil servant novel, difficult to transfer, only suitable for expert audience.<br /> <br /> 10th place: Yú Qiūyǔ / Yu Qiuyu余秋雨 (born 23.8.1946): »A Life Borrowed « 借我一生, 215:000 sold copies. 8/04, 617 pp., Autorenverlag.<br /> Rating: 2.0. Autobiography of a famous Chinese writer.<br /> ==Li Haiquan 李海泉==<br /> <br /> 11th place: Cài Jùn / Cai Jun蔡骏 (born 23.12.1978): »Destiny volume 1: The city in deep sleep«天机: 第一季: 沉睡之城, 202.500 sold copies. 9/07, 240 pp., Shaanxi Pedagogical College Publishing House陕西师范大学出版社4 volumes. Rating: 4.0. Historical adventure / fantasy novel after the pattern of &quot;Lost&quot;.<br /> <br /> 12th place: Dōu Liáng / Dou Liang都梁(born 6.1954): &quot;War Drums in Beijing&quot;狼烟北平, 200.000 sold copies, Changjiang Literature and Art Publisher, 4/06, 371 pp. [Second user: Folk Literature Publishing House].<br /> Rating: 2.0. War novel about the 1930s in Beijing. Also interesting for Germans.<br /> <br /> 13th place: Hán Hán / Han Han韩寒(born 23.9.1982): &quot;Glory Days&quot; 光荣 日, 190.000 sold copies. 6/07, 186 pp., 21st Century Publishing House. <br /> Rating: 1.0. Seven graduates drop out, instead of working in a foreign company. They perform pioneering work in the village (house construction, primary school, vegetable growing). Social critical novel with wit.<br /> ==Li Lili 李丽丽==<br /> <br /> 14th place: Bì Shūmǐn / Bi Shumin毕淑敏 (born 1952): &quot;Women's Boxes&quot;女儿拳, 182.500 sold copies. 254 pp., Blindenschrift Publishing House.<br /> Rating: 2.0, women's narratives.<br /> <br /> Female Psychologist« 女心理师4/07 Chongqing Publishing Group, 253 pp., 2 vols. Rating: 2.0, women’s novel.<br /> <br /> 15th place: Ānnī Bǎobèi / Annie Baobei安妮宝贝 (born 11.7.1974): »Fette Jahre, magere Jahre« 素年锦时, 175.000 sold copies, 9/07 264 pp., Authors Publishing House.<br /> <br /> Rating: 1.3. The female first-person narrator of these stories is in each case a young woman who sees the world with her own eyes.<br /> <br /> 16th place: Wáng Hǎilíng / Wang Hailing王海鸰 (born 12.1953): »Holding Hands« 牵手, 160.000 sold copies. 7/07 346 pp. Authors Publishing House.<br /> Rating: 4.0. guidebook.<br /> <br /> 17th place: Hǎi Yán / Hai Yan 海岩 (born 1954): »Five-Star Hotel« 五星大酒店, 157.500 sold copies. 8/07, 342 pp. Authors Publishing House.<br /> Rating: 2.0. Novel about a student from simple circumstances, who becomes the heir to a Korean financial group, and his girlfriend.<br /> <br /> ==Li Lingyue 李凌月==<br /> <br /> 18th Place: Yán Chóngnián / Yan Chongnian阎崇年(born 24.4.1934): »Beijing: The Treasures of an Ancient Capital«中国古都北京, 150.000 sold copies. 1/08, 302 pp., Democracy and Law Publishing House.<br /> Rating: 4.0. Specialized book.<br /> <br /> 19th place: Tiānxià Bàchàng / Tianxia Bachang天下霸唱(born 1978): »A bizarre story of ghost blowing out the light« 鬼吹灯, 140.000 sold copies.<br /> Vol. 1 The Perfect Ancient City, Vol. 2 The Weasel Grave, Bd. X The Valley of Insects. Rating: 4.0. Magic series on Harry Potter wave.<br /> <br /> 20th place: Lù Tiānmíng [Lu Tianming] 陆天明 (born 1943): »Provincial Secretary« 省委书记, 125.000 sold copies.<br /> Rating: 4.0. The very title is currently not enforceable on the German book market.<br /> <br /> 21st place: Shí Zhōngshān [Shi Zhongshan] 石钟山(born 10.1964): »Underground, Overground«地下,地上115.000 sold copies. Rating: 4.0. Plagiarism?<br /> ==Li Liqin 李丽琴==<br /> <br /> 22nd place: Dāngnián Míngyuè [Dangnian Mingyue] 当年明月 (born 1980): &quot;Storys about Ming Dynasty (volume Yuanzhang Zhu, volume 2, 3, 4)« 明朝哪些事（朱元璋卷）, 2, 3, 4. 112.500 sold copies.<br /> Rating: 2.0. Historical novel about the Ming period (The 1st Emperor of the Ming Dynasty was transformed from beggar to emperor).<br /> <br /> 23rd place: Liú Xīnwǔ [Liu Xinwu] 刘心武 (born 1942): »Liu Xinwu about …« 刘心武说, 100,000 sold copies.<br /> Rating: 4.0.<br /> Series with at least 3 volumes.<br /> <br /> 24th place: Yáng Zhìjūn [Yang Zhijun] 杨志军 (born 1955): »The Tibetan ethnic group Zang'ao (Vol. 1, 2, 3)« 藏獒1, 2, 3. 90.000 sold copies.<br /> Rating: 4.0.<br /> Ethnological-historical representation<br /> ==Li Luyi 李璐伊==<br /> <br /> 25th place: Jiǎ Píngwā [Jia Pingwa] 贾平凹 (born 21.2.1952): »Happy« 高兴, published 9/07, 461 pp., Authors Publishing House.<br /> 75.000 sold copies.<br /> <br /> Rating: 2.0.<br /> Novel about a farmer who sells his kidney to the city and finds a brittle happiness with a prostitute in the city.<br /> <br /> Not yet published in German by the same author:<br /> <br /> »Ruined City« 废都. 381 pp., 1993, Culture and Art Publishing House.<br /> Rating: 1.7.<br /> Novel with erotic elements about male men and female women, about the rotten urban life (exists to a half)<br /> ==Li Meng 李梦==<br /> <br /> Selection procedures on the recommendations for publishers<br /> <br /> The basis for this was the bestseller list in 2007. The following exclusion criteria were applied afterwards:<br /> Already released: Wang Shuo (Playing for Thrills) - Diogenes<br /> Children's books: Zhèng Yuānjié (Pipi Lu; Rock the Wolf), Yáng Hóngyīng (Children's Books about Love)<br /> Suspicion for plagiarism: Shí Zhōngshān (Underground, Overground)<br /> Guidebook: Wang Hailing (New Age of Marriage)<br /> <br /> ==Li Yongshan 李泳珊==<br /> <br /> Specialized books: Yán Chóngnián (Beijing: The Treasures of an Ancient Capital), Yáng Zhìjūn (The Tibetan ethnical group Zang'ao)<br /> Sentimental Kitsch: Ráo Xuěmàn (Sweet-sour, Sandglass)<br /> Fantasy (Potter epigones): Cáo Wénxuān (Kings books: The yellow pagoda); Cài Jùn (Destiny volume 1: The City in deep Sleep, historical adventure / fantasy novel after the pattern of &quot;Lost&quot;); Tiānxià Bàchàng (A bizarre Story of Ghost blowing out the Light: Bd. 1 The Perfect Ancient Town, Vol. 2 The Weasel's Grave, Bd. X The Valley of Insects)<br /> ==Li Yu 李玉==<br /> <br /> Other socialization: Yì Zhōngtiān (comments on the &quot;Three Kingdoms&quot; volume 1-2); Wáng Yuèwén (The Qing Prime Minister = historic civil servant novel); Lù Tiānmíng (The secretary of the Provincial Party Committee - the title alone is not conceivable at the German book market); Liu Xīnwǔ (Liu Xinwu says: ... - The author is largely unknown in Germany, so one does not want to know anything about his multivolume sentiment about everybody and his dog - tradition such as Suixiang lu by Ba Jin.)<br /> ==Lin Min 林敏==<br /> <br /> National hype: Guo Jingming (novel bestseller = Bestseller. The novels are collagen-like and also composed with foreign texts. They will be illustrated in color and presented with all kinds of tips (recipes, make-up), etc. Success can only be explained by enfant terrible Guo Jingming.) <br /> Tip: conclude general contract with Chinese publisher for an author (like Piper with Shan Sa)<br /> <br /> 国内的炒作：郭敬明（新奇的畅销书也是畅销书。他的小说就像拼贴画一样，其中还有外文文本。书中有彩色插图，展示各种技巧(如食谱，化妆)，等等。年少成名，郭敬明是成功二字唯一的阐释者。小贴士:他与中国出版社签订的是一般合同(如派伯（Piper）出版社与山飒（Shan Sa）的合同一般)。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:46, 2 October 2020 (UTC)<br /> <br /> 国内炒作：郭敬明（小说畅销书也就是畅销书。他的小说就像拼图贴画一样，其中与外文文本相结合。书中有彩色插图，展示各种技巧(如食谱，化妆)，等等。年少成名，郭敬明是成功二字唯一的阐释者。小贴士:他与中国出版社签订的是一般合同(如派伯（Piper）出版社与山飒（Shan Sa）的合同一般)。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 02:58, 3 October 2020 (UTC)<br /> <br /> 国内炒作：郭敬明（畅销的小说也就是畅销书。郭敬明的小说是拼图版式并且常与外文文本相结合。书中有彩色插图，提供了各种各样的技巧（如食谱、化妆等）。郭敬明向我们诠释了“成功”这两个字。。小贴士：他与中国出版社签订的是一般合同（如派伯出版社和山萨的一同一般）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 04:20, 3 October 2020 (UTC)<br /> <br /> ==Lin Xin 林鑫==<br /> <br /> Further recommendations for German publishers for publication<br /> <br /> At the translator meeting in Frankfurt, I had recommended two more works, which are not on the current bestseller lists, but which are absolutely necessary to translate and actually appeared at the book fair:<br /> <br /> On the one hand, the &quot;secret bestseller&quot;, Mian Mian's Panda Sex, which was forbidden in China, appeared in Hong Kong and became a bestseller in China under the shop counter and on the Internet. It was only in February 2009 that a censored version could be published in China, which was sold out immediately after the release.<br /> ==Ling Zijin 凌子瑾==<br /> <br /> 1. Mián Mián棉棉 »Panda Sex« 熊猫. Prohibited in the People's Republic of China. Published in revised version 2/2009, 1st edition immediately out of print.<br /> German translation by Martin Woesler with Lihua Ji, Kiepenheuer &amp; Witsch 2009.<br /> Published in Chinese: 12/04, 181 pp., Massenverlag Publishing House<br /> Rating: 1.3.<br /> Scandal book about a Shanghai love affair in free love, cf. La la la, Candy, Your night my day, cf .: Wei Hui: Shanghai Baby.<br /> <br /> For details, see one of the following chapters.<br /> ==Liu Bo 刘博==<br /> <br /> 2. Cáo Xuěqín 曹雪芹 » Dream of the Red Chamber or The Story of the Stone« 红楼梦.<br /> This book appears in 2009 in a bound edition in three volumes and in a paperback edition in a volume.<br /> Approx. 1759, 2300 pp.<br /> Rating: 1.3.<br /> Everlasting bestseller in China, could become a longseller in Germany. Previously there was only a 70% shortened version by Franz Kuhn. The new version is uncut.<br /> ==Liu Jinxingqi 刘金惺琦==<br /> <br /> On the situation of Chinese publications in Germany (selection list before the book fair)<br /> <br /> Here is a list of Chinese publications in German translation before the book fair.<br /> In 2008, only 11 literary works from Chinese to German were translated.<br /> <br /> An important translator is Ulrich Kautz, here some of the translated novels<br /> <br /> Unfortunately many translations do not come directly from Chinese, but rather from the indirection of English or French, as one of the more famous novels: Gio Waeckerlin Induni (Transl. f. Fr.) Dai Sijie: Balzac and the little Chinese Seamstress &lt;Piper&gt; 192007<br /> <br /> ==Liu Liu 刘柳==<br /> <br /> Recent Literary History: &quot;Modern Chinese Literature in Translation - Historical Development and Current Trends&quot;<br /> <br /> 1. Development<br /> <br /> Chinese literature is traditionally received in Germany because of its exoticism (Diederich’s Yellow Series, etc.). In Germany operated especially the exotic translator - with a tremendous amount of translation work: Franz Kuhn.<br /> The last great Chinese literature was Dream Of The Red Chamber ca.1760<br /> <br /> ==Liu Ou 刘欧==<br /> <br /> In the period of the Republic appeared (about 1911-1937) great novels such as Ba Jin: The Family (cf. Buddenbrooks), the end of the Republic saw the beginning of the functionalization of literature (anti - Japanese resistance, civil war parties Guomindang and the Communist Party), intellectuals contributed to the reform with essays, experimental literature was written (Lu Xun: Diary of a Madman and The True Story of Ah Q, which were as revolutionary as Kafka with minimally reduced fictional elements in realistic spelling) and essays (suibi of Zhou Zuoren and socio-critical My Miscellaneous Studies杂文 zawen from his brother Lu Xun).<br /> ==Liu Yangnuo 刘洋诺==<br /> <br /> In Communism, the functionalization of literature (tendency literature) and censorship (Ba Jin censored e.g. his novel The Family by himself) lowered the level, which was ultimately left to the cultural revolution, which wanted only a few model pieces to survive.<br /> <br /> ==Liu Yi 刘艺==<br /> <br /> Today the exoticism begins to disappear for the first time because there is an approximation of the cultural background of the Chinese authors with the international authors, and because the functionalization has been replaced by commercialization (mass literature phenomenon Wang Shuo - but not pure fiction like Konsalik, but rather very socio-critical, language of the youth, unmasking the hollowness of slogans through use in the everyday language).<br /> ==Liu Yiyu 刘怡瑜==<br /> <br /> Even within China, literature has become pure consumption, has lost its reputation, and loses itself towards other media consumption (Internet / film / DVD) audience.<br /> In the last decades, German publishers have published less Chinese literature, while other media genres, such as the Chinese cinema, have been particularly popular because of the exoticism of the images.<br /> <br /> Secondary literature: Martin Woesler: &quot;50 Years of 'Impossible Literature' in the People's Republic of China: Unfreedom, the 'Attempt to End the Enlightenment' and the Lack of Quality ', in: Between Mao and Confucius, Bochum 1999, pp. 151-188.<br /> ==Liu Zhiwei 刘智伟==<br /> <br /> 2. Present<br /> <br /> In the present, there is a counter-movement to mass literature, such as Shanghai's extreme individualists (Bei Bei, Wei Hui, Mian Mian)<br /> <br /> 2.1 Another characteristic of contemporary literature is the mass: Helmut Martin estimated that about 800 novels appeared annually at the beginning of the nineties; after 1995 the number had increased to about 1000. In the 1980s, only 100 novels a year!<br /> <br /> 2. 现在<br /> <br /> 目前，社会上存在反对大众文学的运动，比如上海的某些极端个人主义者：北北、卫慧、棉棉。<br /> <br /> 2.1 当代文学的另一个特点是大众化：马汉茂先生曾估算，90年代初每年出版大约800本小说；1995年之后，数量已增加到1000本。而在80年代的时候，每年只有100本！--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 03:42, 3 October 2020 (UTC)<br /> <br /> 2.现在<br /> <br /> 目前，有一场反大众文学的运动，如上海的极端个人主义者(贝贝、卫慧、绵绵)<br /> <br /> 2.1当代文学的另一个特点是大众化:赫尔穆特·马丁估计，在90年代初，每年大约有800部小说问世;1995年以后，这个数字增加到大约1000人。在20世纪80年代，每年只有100本小说!--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 04:13, 3 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Lou Cancan 娄灿灿==<br /> <br /> 2.2 ,Young Literature’: It has only been defunctionalized since the 1980s, recognizes that it has started from a zero point, begins with the repressed coping with the past, dares the experiment as in the autobiographical urban literature.<br /> Wang Shuo (born 1958), Masters of Mischief, Zurich: Diogenes, 1997, Playing for Thrills, Zurich: Diogenes, 1995<br /> ==Luo Weijia 罗维嘉==<br /> <br /> Literature: Geremie Barmé: &quot;Wang Shuo and ,Liumang’ (Hooligan) Culture,&quot; in: The Australian Journal of Chinese Affairs (1992.2), pp. 23-64; Yusheng Yao: &quot;The Elite-Class Background of Wang Shuo and His Hooligan Characters,&quot; in Modern China. An International Quarterly of History and Social Science (2004.4), pp. 431-469.<br /> Yu Hua余华(born 1960) Mastermind<br /> Mo Yan莫言(born 1956) Mastermind (figurative)<br /> Wang An-yi王安忆 (born 1954)<br /> Bei Dao北岛 (born 1949) poet<br /> <br /> 文学：格雷米·巴梅的《王朔与流氓文化》刊载于《澳大利亚中国事务杂志》（1992.2），第23-64页；姚玉生的《王朔及其流氓人物的精英阶层背景》刊载于国际历史与社会科学季刊《现代中国》（2004.4），第431-469页。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 06:12, 2 October 2020 (UTC)<br /> <br /> 文学：白杰明（Geremie Barmé）的《王朔与流氓文化》刊载于《澳大利亚华人事务杂志》（1992.2），第23-64页；姚玉生（Yusheng Yao）的《王朔及其流氓人物的精英阶层背景》刊载于《国际历史与社会科学》季刊《现代中国》（2004.4）第431-469页。<br /> 余华（1960-）策划<br /> 莫言（1956-）形象策划<br /> 王安忆 (1954-) <br /> 诗人北岛 ( 1949-) --[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:18, 2 October 2020 (UTC)<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> <br /> Su Tong 苏童 (born 1963)<br /> <br /> Wei Hui 衛慧 (born 1973): 上海寶貝Shanghai Baby, Munich: Ullstein, 2002; Marrying Buddha, Munich: Ullstein, 2005; 熊貓(not yet published in German: Pandasex)<br /> Mian Mian棉棉(born 28.8.1970): La la la, Cologne: Kiepenheuer &amp; Witsch, 2000; Your Night, my Day, Cologne: Kiepenheuer &amp; Witsch, 2004; Candy糖, 2000.<br /> <br /> Literature:<br /> Jie Lu: &quot;Cultural Invention and Cultural Intervention: Reading Chinese Urban Fiction of the Nineties&quot;, in: Modern Chinese Literature and Culture (2001.1), pp. 107-139.<br /> A comparison between Zhang Jie张洁(born 1937) and Mian Mian / Wei Hui: James Farrer: Opening up. Youth Sex Culture and Market Reform in Shanghai (Chicago: University of Chicago Press, 2002).<br /> ==Ma Juan 马娟==<br /> <br /> Thilo Diefenbach: &quot;Chinese Literature under the Sign of the 'Upturn': Liu Jiming, Zhang Wei, Liu Qingbang<br /> And their Answer to the big City Literature, &quot;in: Bulletin of the German China Association 2006 (in preparation) [rural China, critical against upturn]<br /> Thilo Diefenbach: Liu Jiming, Zhang Wei, Liu Qing-bang, Bochum 2006<br /> <br /> ==Ma Shuya 马淑雅==<br /> <br /> 3. Specific problems on the Chinese-German translation process<br /> 3.1 Translator = additional filter (further filter: place, possibly time, especially difficult, because great cultural difference)<br /> <br /> 3.2 Since in Chinese with 413 phoneme combinations only a fraction of what is possible in German is available, phonetic expressions in Chinese sound strangely clumsy for German ears: &quot;汪wāng&quot; instead of the variations in German &quot;Wau&quot; and &quot;Wuff&quot;, 喔喔喔wōwōwō&quot; instead of ‘kikeriki’ &quot;as in German and Czech, cf. “kokekoko” in Japanese, &quot;cocorico&quot; in French, &quot;cook-a-doodle-doo&quot; in English,&quot;kuckeliku&quot; in Swedish.<br /> ==Ma Zhixing 马智星==<br /> <br /> At the same time the Chinese is essentialy more rhythmically accentuated by the syllable and character structure and the lack of flexion, and because of the numerous homophonies and the tonal system invites to play with the notes. Especially in pre-modern poems, the original song melodies have been lost, and the tone sequences of the reconstructed spoken language at that time are hardly to render adequate with the non-tonal and less rhythmic possibilities in German, especially since rhymed poems in German nowadays seem very antiquated. However, since the effect is important, many translators fall back on the unbounded language. Volker Klöpsch has shown that bounded translations of prehistoric Chinese poems are still not inferior to their unbounded younger sibling translations in the translation quality, since the bounded translations require more effort.<br /> ==Meng Ying 孟莹==<br /> <br /> As in the translation from English into German, the brevity of Chinese words presents a problem which can hardly be solved, especially in the case of lyrics. One can just make contractions or e.g. to make one from two stanzas.<br /> <br /> Metaphors in Chinese usually have different meanings than in German; in Chinese, symbols, signs, quotations, and allusions are used more frequently than in German to make associations to other poems, historical events or persons.<br /> ==Mo Ling 莫玲==<br /> <br /> 3.3 Trend: Globalization simplifies translating <br /> Kubin complained in 1991,<br /> &quot;The average German translator of Chinese literature goes unprepared to work. He is neither trained as a translator, nor does he bring any experience with him. Even a most sympathetic criticism is usually closed, for the goal of having not translated it wrong seems to him the only and highest command, if attained. &quot;<br /> ==Mo Nan 莫南==<br /> <br /> However at the beginning of the 21st century the cultural embedding of the translation appears to be more consciously perceived:<br /> Due to the overlapping of the experience horizon by traveling and global media experiences, e.g. tragedies such as the tsunami in Southeast Asia, or Hollywood films, which are also known in China, literature is nowadays more easily translatable.<br /> ==Nie Xiaolou 聂晓楼==<br /> <br /> Some translators and perhaps even readers share the author's experiences, such as the events in June 1989 or alienation by the anonymisation of the urbanization, thus the cultural distance reduces.<br /> <br /> In particular, the backlog of Chinese intellectuals since 1917, which selected themselves national literature at first and translated what was just tangible, but then also the personal experience abroad of these intellectuals during their studies, which flowed into their works, made them to translators of a special kind of culture translators. The same may be true in the other direction for early translators like Franz Kuhn.<br /> ==Ou Rong 欧蓉==<br /> <br /> Edward Hall (Beyond culture) ordered in 1976 Chinese culture to be &quot;high-context cultures&quot; and the German to be &quot;low-context cultures&quot;. While the history of humanity worldwide is characterized by an intensified coding (documentation, digitization, information exchange, translation, etc.), which has become an overcoding of modern industrial societies since modernization, industrialization and the introduction of dual bookkeeping, at the same time it can be observed that there is a trend that the high-context cultures develop into low-context cultures.<br /> <br /> It remains to be noted that the convergence of the horizons of experience and the lifeworlds of the authors, translators and foreign-cultural readers strengthens the intersubjective traceability of the translator's and reader's recipe process. For the translator, the effort for the embedding of non-textual context is thus reduced in the present time.<br /> ==Ouyang Jinglan 欧阳静兰==<br /> <br /> 3.4 Translators<br /> Florian Reißinger (The Family), Wolfgang Kubin (re-poetry), Wolf Baus (Taiwanese Lit.), Volker Klöpsch (Tang Poems), Ulrich Kautz (Modern Figures such as Wang Meng, Wang Shuo, Lu Wenfu, Yu Hua): Dream of the Red Chamber (Rainer Schwarz, Martin Woesler).<br /> Studies of translating with a literature part at the universities in Germersheim and Bonn.<br /> ==Ouyang Ling 欧阳玲==<br /> <br /> 4. Literature recommendations<br /> 4.1 Bilingual literature (especially for studying sinologists): hardly available, only the following are known:<br /> 4.1.1 Lyric<br /> Reclam: Chinese Literature (out of print)<br /> Reclam: Chinese lyricism of the twentieth century (out of print, reissued in the European University Press as &quot;Bogenlinien&quot;)<br /> Arbeiterverlag: Black Suns (representative selection of German lyric, out of print)<br /> In collections (anthologies, magazine &quot;die horen&quot;) occasionally individual Chinese poems<br /> Pohl (eds.): Tao Yuanming<br /> <br /> <br /> ==Peng Dan 彭丹==<br /> <br /> Interesting new releases are commented in e.g. minima sinica, ORIENTations, booklets for East Asian literature, Bulletin of the German China Association, magazine of the German Oriental Association etc.<br /> 4.1.2 Essays<br /> <br /> &quot;The Dragon&quot; (bilingual reissue to the book fair of &quot;Selected Chinese Essays of the 20th Century in Translation&quot;)<br /> <br /> ==Peng Juan 彭娟==<br /> <br /> 4.2 Monolingual translations: literary lists of universities<br /> 4.2.1 University of Trier, reading list basic studies [Fats by me]<br /> 4.2.1.1 Philosophy<br /> Kungfutse [Kong, Qiu]. Conversations [Lunyu]. Assigned and published from the Chinese by Richard Wilhelm. Munich: Diederichs, 1990.<br /> Laotse [Laozi]. Tao-te-king [Daodejing]. The Book of Sense and Life. Translation and with a commentary by Richard Wilhelm. Cologne: Diederichs, 1985.<br /> * Schwarz, Ernst (ed. and trans.). Thus spoke the sage. Chinese ideas from 3 thousand years ago. Berlin: Rütten + Löning, 1986.<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> <br /> 4.2.1.2 Older literature<br /> Cao, Zhan [Cao Xueqin; Gao E]. The Story of the Stone [Hongloumeng]. A novel in 5 volumes. Bloomington: Indiana Univ. Pr. // A Dream of red Mansions. Beijing: Foreign Languages Press, 1978, 1980.<br /> * The Columbia anthology of traditional Chinese literature. Mair, Victor H. (ed.). New York et al .: Columbia University Press, 1994.<br /> ==Peng Xiaoling 彭小玲==<br /> <br /> Debon, Günther (trans.). Ein weißes Kleid, ein grau Gebände.. Munich: Piper, 1957.<br /> Debon, Günther (ed.). Mein Haus liegt menschenfern doch nah den Dingen. 3000 Jahre chines. Poesie.. First edition, Munich: Diederichs, 1988.<br /> Klöpsch, Volker (trans.). Der seidene Faden: Gedichte der Tang. Aus dem Chines. übertr. und mit einem Nachw. vers. von Volker Klöpsch. First edition, Frankfurt a. M. (i.a.): Insel Publishing House, 1991.<br /> Köser, Heide (trans.). Das Liederbuch der Chinesen [Shijing]. Guofeng. In a new German edition by Heide Köser. Philologically edited by Armin Hetzer. 1. ed. Frankfurt a .M .: Insel Publishing House, 1990.<br /> 京特·德博(Debon, Günther) (译.). 白色连衣裙, 灰色卷.. 慕尼黑: 派珀(Piper), 1957年.<br /> 京特·德博(Debon, Günther) (编辑.). 我的房子离人很远, 但是很近. 中国3000年. 诗歌.. 第一版, 慕尼黑: Diederichs, 1988年.<br /> 克洛普施·沃尔克(Volker Klöpsch) (译.). 丝线: 唐诗. 来自中国. 转自之后. 克洛普施·沃尔克(Volker Klöpsch). 第一版, 法兰克福(i.a.): Insel出版社, 1991年.<br /> 海德·科瑟(Heide Köser) (译.). 中国歌集《诗经》. 国风. 在海德·科瑟(Heide Köser)撰写的新德语版中. 由阿明·赫泽(Armin Hetzer)编辑. 法兰克福出版公司第一版: Insel出版社, 1990年.--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 14:52, 2 October 2020 (UTC)<br /> <br /> ==Peng Yongliang 彭永亮==<br /> <br /> From the Chinese assigned by Franz Kuhn. Wiesbaden: Insel Publishing House, 1970. // The golden lotus. Transl. by Clement Egerton. London: Routledge &amp; Paul, 1972. // The plum in the golden vase, or, Chin-p'ing-mei. Transl. By David Tod Roy. Princeton: Princeton Univ. Press, 1993, 2001.<br /> <br /> Luo, Guanzhong. Die drei Reiche [Sanguozhi-yanyi]. Roman aus dem alten China. From the Chinese. By Franz Kuhn. 1. ed. Frankfurt a. M.: Insel Publishing House, 1981. // Romance of the Three Kingdoms. Transl. by C.H. Brewitt-Taylor. Rutland i.a. .: Tuttle, 1980.<br /> <br /> Schwarz, Ernst (Transl. And ed.). Der Ruf der Phönixflöte. Klassische chinesische Prosa. 2 volumes of Berlin: Rütten &amp; Loening.<br /> ==Peng Yuzhi 彭育志==<br /> <br /> Shi, Naian; Luo Guanzhong. Die Räuber vom Liang-Schan-Moor [Shuihu-zhuan]. From the Chinese assigned by Franz Kuhn. Frankfurt a. M.: Insel Publishing House, 1964. // Water margin. Transl. by J.H. Jackson. Hong Kong: Commercial Pr., 1979. // Outlaws of the marsh. Transl. By Sidney Shapiro. Bloomington: Indiana Univ. Pr., 1981.<br /> <br /> Wu, Cheng'en. Journey to the West [Xiyou-ji]. 3 vols. Transl. by W.J.F. Jenner. Beijing: Foreign Languages Pr. // Monkeys Pilgrimage. According to eng. Transl. by Arthur Waley assigned by Georgette Boner and Maria Nils. Munich: Hugendubel, 1980. // Monkey. - Reprint. Transl. By Arthur Waley. London, Unwin, 1979.<br /> <br /> Wu, Jingzi. The scholars [Rulin-waishi]. Transl. by Yang Hsien-yi. 3. ed. Peking: Foreign Languages Press, 1973. // The road to the white clouds. Stories from the scholar's forest. 2 vols. Munich: Beck, 1990.<br /> <br /> ==Qi Kai 漆凯==<br /> <br /> 4.2.1.3 Modern Literature<br /> Ba, Jin. Kalte Nächte [Hanye]. Novel. From the Chinese by Sabine Peschel. First ed., Frankfurt am Main: Suhrkamp, 1981.<br /> <br /> Ba, Jin. Die Familie [Jia]. From the Chinese. By Florian Reissinger. Berlin: Oberbaum Publishin House., 1980.<br /> <br /> * The Columbia anthology of modern Chinese literature. Lau, Joseph S.M .; Goldblatt, Howard (eds.). New York: Columbia University Press, 1995.<br /> <br /> Donath, Andreas (eds.). Die Drachenschnur. Geschichten aus dem chinesischen Alltag. Darmstadt i.a. .: Luchterhand, 1981.<br /> <br /> Fessen-Henjes, Irmtraud (eds.). 16 chinesische Erzähler. First ed.. Berlin: Publishing House Volk u. Welt, 1984.<br /> <br /> Gao, Xiaosheng. Geschichten von Chen Huansheng. Göttingen: Lamuv Publishing House, 1988.<br /> Hoffnung auf Frühling, 1919-1949. Frankfurt a. M.: Suhrkamp, 1980. (Modern Chinese Stories; 1)<br /> <br /> ==Qu Miao 瞿淼==<br /> <br /> Hundert Blumen, 1949-1979. Frankfurt a. M.: Suhrkamp, 1980. (Modern Chinese Stories; 2)<br /> Jiang, Zilong. Alle Farben des Regenbogens. 1st ed. Beijing: Publishing House for Foreign Language Literature, 1989 (Phönix-Buchreihe)<br /> Kuo, Heng-yü (eds.). Der ewige Fluss. Chinesische Erzählungen aus Taiwan. Munich: Minerva publication Saur, 1986.<br /> Lao She. Die Stadt der Katzen [Maocheng Ji]. Frankfurt a. M .: Suhrkamp, 1985.<br /> Lao, She. Rikscha-Kuli [Luotuo Xiangzi]. A novel. From the Chinese assigned by Florian Reissinger. First ed., Frankfurt a. M.: Insel Publishing House, 1987.<br /> Lu, Wenfu. Der Gourmet. Translation and afterword by Stefan Hase-Bergen. Bochum: Brockmeyer, 1992.<br /> Lu Xun. Einige Erzählungen von Lu Xun. Beijing: Foreign Languages Press. Literature, 1976.<br /> Mao, Dun. Schanghai im Zwielicht [Ziye]. Frankfurt, 1985.<br /> Martin, Helmut (eds.). Blick übers Meer. Chinesische Erzählungen aus Taiwan. First ed., Frankfurt a. M.: Suhrkamp, 1982.<br /> <br /> Mo, Yan. The republic of wine. Transl. from the Chinese by Howard Goldblatt. London: Hamish Hamilton, 2000.<br /> Mo, Yan. Die Knoblauchrevolte. Novel. Ger. by Andreas Donath. Reinbek by Hamburg: Rowohlt, 1997.<br /> Mo, Yan. Das rote Kornfeld. Novel. Ger. by Peter Weber-Schäfer. Reinbeck: Rowohlt, 1993.<br /> Qian, Zhongshu. Die umzingelte Festung [Weicheng]. Ein chinesischer Gesellschaftsroman. From the Chinese assigned by Monika Motsch. First ed., Frankfurt a. M.: Insel, 1988.<br /> Wang, Meng. Kleines Gerede. Satiren aus der Volksrepublik China. Edited by Helmut Martin. Cologne: Diederichs, 1985.<br /> Wang, Shuo. Herzklopfen heißt das Spiel. Zurich: Diogenes, 1997.<br /> Wang, Shuo. Oberchaoten. Zurich: Diogenes, 2001.<br /> Yu, Hua. Leben! Novel. From the Chinese by Ulrich Kautz. Stuttgart: Klett-Cotta, 1998. [od25109]<br /> Zhang, Jie. Solange nichts passiert, geschieht auch nichts. Satiren. From the Chinese by Michael Kahn-Ackermann. Munich i.a..: Hanser, 1987.<br /> Zhang, Xinxin; Sang, Ye. Pekingmenschen [Beijingren]. Edited by Helmut Martin. First edition, Cologne: Diederichs, 1986.<br /> <br /> 4.2.1.4 Dramas<br /> Eberstein, Bernd (eds.). Moderne Stücke aus China. Frankfurt a. M .: Suhrkamp, 1980.<br /> Gao, Xingjian. Die Busstation. Eine lyrische Komödie aus der VR China. Bochum: Brockmeyer, 1988.<br /> Lao, She. Das Teehaus [Chaguan]. Mit Aufführungsfotos u. Materialien. Edited by Uwe Kräuter. Frankfurt a. M.: Suhrkamp, 1980.<br /> <br /> 4.2.1.5 Poetry<br /> Hsu, Kai-Yu (eds., transl.). Twentieth century Chinese poetry. An anthology. 1. print. Ithaca, NY: Cornell Univ. Pr., 1970.<br /> Kubin, Wolfgang (eds. and trans.). Nachrichten von der Hauptstadt der Sonne. Moderne chinesische Lyrik 1919-1984. First edition, Frankfurt a. M.: Suhrkamp, 1985.<br /> <br /> 5. Chinese bestsellers in China<br /> <br /> Authors: http://hi.baidu.com/%D1%A7%CF%B0%D3%C0%D4%B6%B2%BB%CD%ED/blog/item/661e76fad5b669ddb48f3190.html<br /> <br /> Translator workshops<br /> These workshops are mainly offered by foundations with literary support (Litprom, Robert Bosch Foundation). In the summer of 2008, a literary translator's workshop took place in Palatine Edenkoben. <br /> <br /> ==Quan Meixin 全美欣==<br /> <br /> Chinese books in German translation: authors who are promoted from China<br /> <br /> Selection list of some Chinese literature events 2007-2009 (before the book fair):<br /> - 29 April 2008: Translator's pitch &quot;Rotes Kornfeld&quot;, German Publishers and Booksellers Association, Frankfurt<br /> - May 2008: &quot;Recommendation List of Chinese Contemporary Literature&quot; of the BIZ Peking<br /> - 7.-14.7.2008 &quot;German-Chinese workshop for Literature translators &quot;, Künstlerhaus Edenkoben<br /> - 22.4.2009 Lecture Ulrich Kautz Hamburg at the Confucius Institute: Chinese Contemporary Literature on the German Book Market - Opportunities and Problems<br /> - 22.4.2009 Lecture Prof. Dr. Wang Hongtu王宏图, Vice Director of the Confucius Institute Hamburg, &quot;Contemporary Chinese Literature: From Westernization to Chineseness&quot;<br /> - 27.6.2009 Symposium &quot;Chinese Literature in German Translation - China Honorary Guest of the Frankfurt Book Fair 2009&quot;, cf.: Symposium Volume &quot;, Bochum: European Universities Press 2010, ISBN 978-3-89966-293-1.<br /> - 12.-13.9.2009: Symposium in Frankfurt: First meeting of dissident writers and officials, leads to scandal and is a message in the television news, which also arouses interest in the book fair.<br /> <br /> Xu Zechen - Running Through Zhongguancun<br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;,<br /> The German reader as a tourist in Peking may have been approached like this by the flying merchants.<br /> &quot;Suddenly, two policemen emerge and they run, passing the southern gate of the Beijing University [...]. Breathlessly asked the friend ‚Shall we not throw the bag away? If one gets us together with the stolen property, there is really anger!’- But the policemen are just too fat, they should have held their bellies to run fast.&quot;<br /> This scene comes from the story &quot;Running Through Zhongguancun&quot; (C 2008, G 2009). Here the German reader can slip into the role of the seller for the first time, who is embodied by the 25-year-old Huang. Xu Zechen, 31, lives in Beijing, has created the milieu authentically, the characters with dry humor and yet refreshingly lively. He describes a life between hot pavement and basement hole, between the dream of making big money and bitter setbacks, the daily cat and mouse game with the police. He experiences the world of the crooks as shark pond and as a conspiratorial community, in which everyone gives the shirt off one’s back, lose their existence, but get up again, he experiences the arbitrariness and corruption of policemen. Here, worlds collide: the army of unemployed agricultural workers, who become small-scale criminals, and the urban population. The world of youth, who loves the freedom of the street, and the elderly, who appreciate the security of the wealth. This literature is one of the most recent and most promising stories from China, which shows us a completely different China than the perfectly staged one that the Olympia organizer presents.<br /> <br /> ==Sagara Seydou ==<br /> <br /> Full Text Xu Zechen: &quot;Running Through Zhongguancun&quot;<br /> <br /> Quote:<br /> &quot;Diwidi? Everything there: Hollywood, Japanese, Korean, Oscar-crowned classics &quot;<br /> <br /> Quote<br /> &quot;[...] Suddenly, two policemen emerge and they run, passing the southern gate of the Beijing University [...]. Breathlessly asked the friend ‚Shall we not throw the bag away? If one gets us together with the stolen property, there is really anger!’- But the policemen are just too fat, they should have held their bellies to run fast.&quot;<br /> <br /> Alai: Distant Springs<br /> &quot;When I was little, the old nomad Gongbosijia told me about a hot spring in a distant place. This spring became the quintessence of my childhood's longing&quot;, so the story &quot;Distant Springs&quot; (C 2005, Unionsverlag G 2009) begins by the Tibetan Author Alai, 50. The novel is written from the perspective of a Tibetan boy who prefers to take care on horses on the Tibetan mountain pasture rather than talking to the villagers in the valley. After hearing of the hot and healing springs, he longs to find them, because he does not feel at home in the village. He discovers his passion for photography and, as a young man, now a district photographer, actually penetrates the sources. Instead of the described springs by the nomad, he finds there an abandoned concrete landscape - a sign of a failed touristic planning.<br /> <br /> Yes, even Tibetan authors are among the winners of this year's book fair: They are particularly in demand by Swiss publishers. At the confederate Chinabooks, several young Tibetans are represented: Jamyang, Taering Öser, Tenzin Tsundue and Alai, who comes from northern Sichuan, and who had after his poems and stories a great success with his latest novel &quot;Red Poppies&quot;.<br /> <br /> Full text of Alai: Distant Springs<br /> http://book.kanunu.cn/html/2005/0828/979.html<br /> &quot;When I was little, the old nomad Gongbosijia told me about a hot spring in a distant place. This spring became the quintessence of my childhood's longing.&quot;<br /> <br /> ==Shi Diwen 石迪文==<br /> <br /> Yu Dan: Confucius from the Heart<br /> Yu Dan embodies a new type of female professor: Young (44), boyish, witty and funny - and her specialty is the 2,500-year-old classic &quot;Conversations&quot; of Confucius who was as basic to China as Plato for the West. She fetched the old text from the dust of her study room at the Beijing Normal University and moved into the spotlight of the television headlights. For seven days she was to be seen in state television with her lectures. Her illustrative elucidation of the moral principles on the basis of everyday examples from the present was the subject of discussion in 2006, which was discussed at work. She uses anecdotes and colloquial language. The teachings of Confucius are timeless, like &quot;Do not force anyone to do anything you would not want to do either.&quot; Her daughter would also learn a lot more while playing with bottle and lid than with expensive toys. &quot;Not everything from Confucius has yet to tell us something today, I grew up with Confucius and was brought up in a classical way and that makes me believe in myself.&quot; The book &quot;Confucius from the Heart&quot; emerged the second place on the bestseller list in 2007 with 503.000 sold copies. Meanwhile, she has reached the million, other statistics, which the author has not been able to confirm, speak of more than ten million of pirated material. <br /> <br /> And since the trend in China goes towards the second book, thia means, that a successful book is followed by a second similar one, she produced another commentary to the philosopher Zhuangzi in 2007. Yu Dan is so successful because she is both a Confucius researcher and an employee in the arts and media institute.<br /> <br /> 于丹：《论语心得》<br /> 于丹展现了新一代女性研究者的风貌：年轻（44），孩子气但又充满智慧，性格有趣。她学习孔子，也就是古代中国那位可以媲美西方柏拉图的智者，并专门研究2500年前记录下来的孔子经典语录。从北京师范大学中布满灰尘的书房里取得语录老本，她将之带到了电视荧幕中的聚光灯下，并连续七天开展讲座。2006年，她以日常事件为例，对孔子推崇的道德观念进行解说，这成为了年度话题，甚至工作时也被讨论。她口语化的语言写书，谈及轶事。孔子的教诲是永不过时的， 比如说那句“己所不欲，勿施于人”。她的女儿在玩瓶子和瓶盖时比玩昂贵玩具懂得更多。“并非所有孔子的思想有待在当下给予我们一些教诲，我从小就学习孔子，是在传统文化教育下长大的，这样的教育经历让我相信自己。”《论语心得》这本书在2007年的畅销书榜中排第二，销售量达五百三千万。同时，她成为了百万富翁，另有数据说她坐拥千万以上的财产，但后者并未得到本人证实。<br /> <br /> 自这本书掀起时代潮流起，不断有人对此模仿，于丹在2007年写了一部对另一位古代中国哲学家庄子的评论。于丹如此成功，因为她既是孔子的研究者，又是艺术和多媒体领域的宠儿。--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 11:26, 2 October 2020 (UTC)<br /> <br /> 于丹：《论语心得》<br /> 于丹展现了新一代女性研究者的风貌：年轻（44岁），孩子气又充满智慧，诙谐风趣。她专研2500年前记录下来的孔子经典语录，这位智者在中国的地位可以等同于西方世界里柏拉图的地位。于丹从北京师范大学中布满灰尘的书房里取得语录老本，她将之带到了电视荧幕的聚光灯下，在国家电视台连续开展了七天的讲座。2006年，她以日常事件为例，在作品中对孔子推崇的道德观念进行阐述，这成为了年度话题。她以趣闻轶事和口语来写作。孔子的教诲是永不过时的， 比如说那句“己所不欲，勿施于人”。她的女儿在玩瓶子和瓶盖时比玩昂贵玩具懂得更多。“并非所有孔子的思想在当下仍具有教育意义，我从小就学习孔子，是在传统文化教育下长大的，这样的教育经历让我相信自己。”《论语心得》这本书在2007年的畅销书榜中排第二，销售量达五百三千万。同时，她成为了百万富翁，另有数据说她坐拥千万以上的财产，但后者并未得到本人证实。<br /> <br /> 在中国，一本书的畅销往往会带来第二本书，这意味着，一本书籍成功后，往往会有一本类似的后续--于丹在2007年写了一部对另一位哲学家庄子的评论。于丹如此成功源于她既是孔子的研究者，又是电影学院的教职工。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 15:01, 2 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Shi Haiyao 石海瑶==<br /> <br /> She likes to open theatrically an arbitrary passage in the &quot;Analects of Confucius&quot; and provides an improvised interpretation, like a modern preacher. This has also given her some criticism from Confucius researchers who see the historical context and political implications neglected in favor of a soft-washed, harmonious Confucianism.<br /> <br /> Why is Confucius so successful in China today? Yu Dan with the return to the common uber-father, certainly gives a new orientation in a disillusioned, materialistic time, as she herself says. In 1974, Confucius had been dismantled in a campaign and waved aside as &quot;conservative&quot; and &quot;overhauled&quot; in the last decades. Now, especially middle class and retirees discover Confucius new. Confucius is a cult, there is a whole advertising industry with devotional objects and sculptures, his place of birth Qufu is a place of pilgrimage and tourist magnet, cultural institutions all over the world bear his name since 2007. In fact, the Chinese also share Confucian values with other Asian countries: humanity, piety / loyality and social responsibility, and care of the fittest for the weaker.<br /> <br /> Does this popular scientific commentary literature also work in Germany, where one hardly knows the original texts? Droemer Publishing House took this risk, which put the translator Johannes Fiederling, whose first major literary translation it is, in special problems. As a solution, the publisher has announced that the original &quot;Analects of Confucius&quot; will be printed in the back of the book as soon as it enters the bookstores on the 21st of August, 2009.<br /> <br /> ==Si Yu 司妤==<br /> <br /> Indeed Yu Dan stayed young, she likes listening to pop music by Jay Chow and &quot;Mother Nanquan&quot; and is the head of the &quot;I want fun&quot; club at the art and media institute of the Beijing Normal University.<br /> <br /> Yu Dan had certainly predecessors, for instance when modern writers such as Liu Xinwu or Wang Meng criticized the classic &quot;Dream of the Red Chamber&quot;. But she has found a series of imitators that deal with classical subjects - a nostalgic wave is currently swashing through China. In place of the reconditioned Communist ideology, the return to traditional values has taken place. Also on the bestseller lists this literature stands at the top.<br /> <br /> This nostalgia literature in China also includes comments on the classic novel &quot;Three Kingdoms&quot; (C 2006) by Yi Zhongtian (62), which ended up in 2007 with 340,000 copies on the third place of the bestseller list, the historical novel about the last imperial dynasty &quot;The Qing Prime Minister&quot; (C 2007) by Wang Yuewen (46) and &quot;War Drums in Beijing&quot; (C 2006) by Dou Liang (55) about old Beijing, all of them with at least 200,000 sold copies in 2007.<br /> <br /> ==Song Jianru 宋建茹==<br /> <br /> Cao Xueqin: Dream of the Red Chamber<br /> The wedding is sealed, the veil is lifted - but not the beloved comes in sight, but a good friend. This is the key scene in China's most famous novel &quot;Dream of the Red Chamber&quot;, which leads the eternal bestseller list and is for the first time completely in German available. He abducts the reader into a largely untouched, authentic China: the one of the last imperial dynasty 250 years ago. He describes the life at the imperial court like the one of the servants, it is at the same time a soap opera,a generation novel, a crime novel, a love story and a Buddhist parable.<br /> <br /> The author writes so poignantly, because he describes his own life. In a paradise-like garden, he and his twelve cousins grow up carefree, with two developing a triangular relationship. But the large family falls apart, the cousins marry and leave the garden. The tide is turning only when the protagonist passes the examination of officials. In the novel, the Emperor is impressed and returns titles and countries, in real life the author receives a modest pension, writes to the novel until shortly before his death and dies as a hermit.<br /> <br /> In China the novel has become immortal with numerous book editions, film adaptations and own research tradition. The upcoming re-filming was a casting event. Every Chinese knows the main characters of the novel and can name their favorites.<br /> 曹雪芹：《红楼梦》<br /> 订了婚，掀起盖头---呈现在眼前的不是心爱的那个人，而是一位好朋友。这是中国颇具盛名的小说《红楼梦》的经典场景，这一幕使得这部畅销书经久不衰，也让这部小说第一次在德国全本出版。他使读者认识到一个地域辽阔、未经踏染、原汁原味的中国：250年前的最后一个封建王朝。他描写得宫廷生活，好像他就是其中的仆人。此外，这部小说还是一部肥皂剧、一本古代小说、一部犯罪小说、一个爱情故事和一个佛教寓言故事。<br /> 作者写得如此令人感伤，是因为他在描写自己的亲身经历。在天堂般的乐园里，他与十二个姐妹无忧无虑地长大，与其中两位发展了一段三角恋关系。然而随着姐妹们远嫁他乡，这个大家庭变得四分五裂。小说的高潮在主人公通过科举考试时展开。小说中，皇帝深受感动，赏赐了头衔和领地。而现实中作者隐居生活，领着微薄的抚恤金，一直到去世前不久还在写小说。<br /> 在中国，这本小说流传至今，出了许多版本，改编成多部电影，形成了自己的研究传统。即将翻拍的电影一直在挑选演员。每个中国人都了解小说里的主要人物，能说出他们的喜好。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 16:25, 2 October 2020 (UTC)<br /> <br /> ==Su Lin 苏琳==<br /> <br /> Yu Hua - Brothers<br /> The Beijing Yu Hua was always smiling, always a joke on the lips, but also always a cigarette in the mouth. He has written the sketchy novel &quot;Brothers&quot;, which will be available in German at the book fair.<br /> <br /> Yu grew up in the country during the cultural revolution. Instead of school lessons, there were denunciation wall newspapers. In this he recognized the power of language and decided to write. He learned from idols like Kafka, Borges and García Márquez to incorporate the fictional into his short stories, but also sex and violence and so he quickly became famous. He wrote one decade at a historical novel, but abandoned it when he saw the extreme changes in China to capture these opposites with the novel &quot;Brothers&quot;.<br /> <br /> The father of the two brothers, who Yu describes, got killed by the masses in the cultural revolution. The two brothers could hardly develop more differently: The younger brother, Li Guangtou, had been successful with beauty contests for virgins and the sale of used Japanese suits. The older one, Song Gang, works in a public corporation and believes he has a crisis-proof job until he gets discharged. Now he is also trying to be an 'entrepreneur', he lets his breast enlarge surgically to sell peasant gel, which should supposedly enlarge the breast However, he fails and commits suicide.<br /> 余华-《兄弟》<br /> 余华先生是纯正的北京人，他总是以微笑示人，谈吐也十分幽默，嘴里常常叼着一只香烟。他已经完成了小说《兄弟》的手稿，其德语版即将在书展上出售。<br /> 余华于文革时期在农村长大。当时学校里不上课，整天贴大字报搞批斗。从中他认识到了语言的力量，并决定写作。他从偶像卡夫卡，博尔赫斯和加西亚马尔克斯身上学到了将虚构，性和暴力融入自己的短篇小说中，因此他很快就成名了。他用十年写了一部历史小说，但当他亲眼目睹中国的极端变化后，他放弃了这部小说，转而创作小说《兄弟》来表现文革前后的巨大变革。<br /> 据余华描述，这两兄弟的父亲在文革时被群众杀害，他俩的发展也完全不同：弟弟李光头在处女选美比赛和二手日本西装的销售上获得了成功。哥哥宋刚原来在一家上市公司工作，他认为自己的工作是“铁饭碗”，可后来还是被解雇了。现在他正努力成为一名“企业家”，为了卖丰胸膏，他还做过隆胸手术。然而他的创业最终还是失败了，之后他便自杀了。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 12:39, 2 October 2020 (UTC)--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 12:39, 2 October 2020 (UTC)<br /> 余华-《兄弟》<br /> 生活在北京的余华脸上常挂着笑容，嘴里总讲着段子，也常含着一支烟。他已经完成小说《兄弟》大概内容，德语版将在书展上出售。<br /> 余华在农村长大，当时正处于文革时期。学校不开课，整天贴大字报搞批斗。他从中认识到了语言的力量，并决定写作。从偶像卡夫卡、博尔赫斯和加西亚马尔克斯身上，他学会如何把虚构、性和暴力融入自己的短篇小说中，很快，他就因此成名了。他用十年写了一部历史小说，但当他亲眼目睹中国的剧烈变化后，他放弃了这部小说，转而创作小说《兄弟》来表现文革前后的巨大变革。<br /> 据余华描述，这俩兄弟的父亲在文革期间被人们杀害。兄弟俩的发展完全不同。弟弟李光头举办了处美人大赛，买卖二手日本人西装，都获得了成功。哥哥宋刚原来在一家上市公司工作，他认为自己的工作是“铁饭碗”，可后来还是被解雇了。现在他正努力成为一名“企业家”，为了卖给农民丰胸膏，他还做了隆胸手术。然而他的创业还是以失败告终，之后他便自杀了。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 01:46, 3 October 2020 (UTC)<br /> <br /> ==Tan Xingyue 谭星越==<br /> <br /> Mo Yan: Sandalwood Death<br /> Mo Yan takes us with his Sandalwood Death (C 2001), which will be published at the book fair, to the German colonial history in China, with railway construction and the Boxer Rebellion,. Mo Yan describes a fictitious story in which Guomindang General Yuan Shikai, with the last imperial headman, wants to achieve a cruel execution by torture against a man who rebelled after his family had previously been desecrated and killed by Germans. Contrasted with this, Mo Yan portrays the last opera singer of the Maoqiang local opera from Gaomi. The language is pathetic, symbolic and emotionally charged. The description of the inner conflict of the physician, who has to keep the victim alive until the German colonizers see him, is shattered. His only advice &quot;Remove the Sandalwood!&quot; is not followed, since this is precisely the torture. Mo Yan is also represented at the book fair with the further masterpiece &quot;Der Überdruss&quot;. In his afterword which is not reprinted he writes: &quot;A great novel can not sacrifice its own dignity due to the fact that it wants to appeal to a sensuous, pseudoemotional age. It can not, in order to meet the wishes of some readers, save length, reduce the density of action, or lower the degree of difficulty. I want it clearly long, thick and heavy. Whoever wants to read it, read it, whoever does not, leave it alone! [...] Even if only a single reader remains to me! So what? I am not writing a different character. &quot;<br /> <br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> <br /> Interview with Mo Yan<br /> On the occasion of a symposium in the run-up to the Frankfurt Book Fair, Martin Woesler interviewed Mo Yan on Saturday, September 12th, 2009, 9.30-9.50 am Mo Yan, who is in addition to Yu Hua one of the candidates for a Nobel Prize in Literature.<br /> <br /> Question: You are a participant of the official Chinese authors delegation who visits Germany during the Frankfurt Book Fair and know Germany from previous visits. How do you perceive as a Chinese the German culture compared to other cultures you have met, like the American?<br /> Answer: Due to the rare and short visits I can not judge. But if you ask me about my impression, I have a different feeling in America than in Germany: In the United States, I have the impression that culture is less the essence of life than in Europe. I am lacking the thoughtfulness. On the other hand French culture appears closer to the Chinese, so I am much translated in French.<br /> <br /> Question: You come from Gaomi, where the Germans had an inglorious past as colonial lords. This is the topic of your novel &quot;Sandalwood Death&quot;. Have you forgiven the Germans?<br /> Answer: In the novel, I overdraw the Germans with their goose step as the epitome of the colonial lords, which is of course grotesque and purely symbolic. To the Germans I have no resentment. I really like to be in Germany, now I am here for the fourth time. I was particularly impressed by the harbor of Hamburg. You should not be surprised if the harbor of a Chinese city, which I describe in my next novels, is somehow familiar to you.<br /> <br /> Question: What are your concrete plans for the book fair?<br /> Answer: After the symposium, I will be flying back and return from 11th to 31st October 2009 in order to participate at the book fair and to do a reading tour. I will also read in Munich, your colleague Martina Hasse knows the dates.<br /> <br /> Question: What can we expect from Mo Yan in the future?<br /> Answer: I am writing a new novel, which will appear in November.<br /> <br /> Note: A manifesto of the author is the afterword to the novel &quot;Der Überdruss&quot;. This statement is published in the following book, translated by Martina Hasse: Chinesische Literatur in deutscher Übersetzung - China Ehrengast der Frankfurter Buchmesse 2009 / Symposiumsband, Bochum: European University Press 2010, ISBN 978-3-89966-293-1.<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> <br /> From the &quot;evil girl&quot; to the &quot;cult figure&quot; of the Chinese contemporary literature - Mian Mian<br /> Mian Mian has influenced the young generation of the Shanghai women with her underground literature<br /> <br /> See also my similar essay on Mian Mian in: &quot;Chinese Literature in German Translation - China as the Honorary Guest of the Frankfurt Book Fair, Symposium Volume&quot; 2010.<br /> <br /> Photo: Yiqing Liu<br /> <br /> Mian Mian stands on the terrace of the cult bistro &quot;M on the Bund&quot;. She looks at the colorful lights of the &quot;Bund&quot;: houses in colonial style line up to Shanghai's harbor line. A gentle gust of wind blows a strand of her face, she looks a little defiantly into the skyline: &quot;Here we celebrated wild parties!&quot; Of course, it did not cost anything at that time - she knows the owner of this cult bar and also from the other trendy bars here in the proximity - all foreigners.<br /> <br /> The colorful skyline stands for a vibrant metropolis that is Mian Mian's life. Her books are a tribute to a city that has always been more modern than the other Chinese cities. And Mian Mian has breathed a soul into this city, the soul of youth, open-mindedness and culture of fun. In the socialist China she was a scandal, her literature was forbidden. And yet she was printed in Hong Kong, her texts appeared on the Internet and were sold under the shop counter. She was the insider tip of the underground literature.<br /> <br /> A whole generation of young girls wanted to be like Mian Mian - celebrating wildly, trying out all the forbidden things: free love, alcohol, drugs. Where Mian Mian was, the underground culture was at home, a party was only hippy when she appeared. Sometimes she organized events and performed as a DJ. She has become much more than an avant-garde writer, she has become a cult, a lifestyle. Now the censorship has been lifted and her four novels appeared in February, the first edition of 200,000 copies already sold out in March.<br /> <br /> Her latest novel, Panda Sex, is not really a novel, but a simple chronicle of her life. For this purpose the tireless partygoer took a few years ago a mini-recorder with her and recorded the sometimes irrelevant partly profound conversations of her friends. Time and again the talks deal about relationships and true love. To write down these recordings and compose a novel from it, fascinated her for more than five years, made her &quot;addicted&quot;, as she says. The book did not let go of her. At that time, she could not write nothing else, she was &quot;dependent on writing&quot; &quot;like a drug addict on the junk&quot;. In fact, she is once again experiencing her wild youth with this novel.<br /> <br /> ==Tang Bei 汤蓓==<br /> <br /> Also the characters exist: the male bear features of Mian Mian's partner, herself slips into different female figures. And at the end of the novel she reveals another secret about déjà vus and change of roles about the novel itself.<br /> <br /> It was not until the reworking of the novel that Mian Mian left her wild life behind. Since two years the authoress has abjured the nicotine, the alcohol and the soft and hard drugs of her youth, became a vegetarian and Buddhist, but she is not &quot;clean&quot; yet, her new drug is writing. &quot;My life has run through a transformation from dependence to the danger of self-destruction to self-realization and the readers can experience this journey in my literature.&quot;<br /> <br /> Her books are now available in China. &quot;And I'm very happy about that,&quot; she says brightly. There is a bit of a malice about the censors who had never understood the novels anyway, and a bit of defiance, the feeling of finally getting a piece of the Chinese economic miracle, which was officially only two years kept back, but actually nine years, namely from April 2000 to February 2009, by revenue of the sold books. In fact, the 20,000 copies of Panda Sex, which arrived in China in February, were already out of print the same month. Also her other three books with 20,000 copies, summarized in Germany in the two books &quot;La la la&quot; and &quot;Your Night, my Day&quot; are sold out. Mian Mian is in her favorite underground bookstore Jifeng and calls with her mobile phone impatiently after the reprint. In the middle of this buzzing, hectic, commercial shopping life of this corner, the approximately 300 square meter bookstore near the &quot;Maoming nanlu&quot; in a subway station of line 2 is an oasis of calm. There are seating possibilities, the books are divided into groups, translations from English are selling by the pile.<br /> <br /> ==Tang Ming 唐铭==<br /> <br /> The contrast between the never full partygoer of the 1990s and the writer today could hardly be bigger. In January 2009 she was in Paris and presented the French edition of Panda Sex. There it was celebrated by the young journalists. She flirted with them, especially with the one from &quot;Le Monde,&quot; who wrote a fantastic critique of Panda Sex. With Panda Sex, she had created a living literary monument, a modern work of art.<br /> <br /> &quot;Panda Sex&quot; as a contemporary novel is highly controversial in-country and abroad, possibly the most controversial novel at all. Mian Mian is absolutely convinced of her novel: &quot;Of course China was not ready for my novel when I wrote it, hence the censorship. The old books of mine are in the style of the 1990s. I've tried to write Panda Sex as one will write in the future. &quot;<br /> <br /> Now Mian Mian wants a part from the Chinese economic miracle. What does she do when she comes into money? &quot;A movie! That would be the greatest! &quot;This is the only thing that can be made meaningful with a lot of money. In fact, the novel Panda Sex reads like a French black and white film. Dialogues, only interrupted by short stage instructions. The French film studio Anna Sanders wants to make the novel into a film, Mian Mian has agreed to direct it.<br /> <br /> Mian Mian leads me to the original settings of her novel. And not only the places exist, but also the stories happened as described. Today's Shanghai presents itself as a large construction site in preparation for the Expo 2010. And this Shanghai she has loved, lived, lived to the excess. But the places she leads me are no cheap nightclubs, no wicked bars, but trendy restaurants, elegant joints involving terraces with view in which the decadence of the century's turn is palpable. Even in the revolutionary nostalgic &quot;YYs&quot; for tourists, a bottle of champagne costs 965 yuan (over 100 euros).<br /> <br /> ==Tang Yiran 汤伊然==<br /> <br /> The &quot;Jean George&quot; at the center with its high ceilings, the dark wooden floors and walls, the mirrors, the somewhat musty velvet, stucco and reddish twilight seems to come from the Europe of the 1910s. Busy waiters in tails dart back and forth, the cocktails are priceless. But it is not Europe, it is Shanghai. And it is not the 1910s, but exactly a century later. In the 1990s, the trendy get-together was prosperous. The bar is still popular today, but it is ghostly empty. Here is a fin-de-siècle mood nearly tactile. The restaurant is owned by Jean George, a star cook who happened to be at his restaurant that evening but is mostly in New York. Here she has recorded the monologue about Bruce Lee by Andrew Bull, which appears in the novel in the first part, chapter five.<br /> <br /> Mian Mian is also surprised at how much the global economic crisis hit Shanghai. Even when she drives by taxi through the nocturnal, almost deserted Shanghai, she feels strange in her city, in the city where she has spent her entire life: &quot;The breath of the financial crisis pushes people from the nightlife into the bedrooms.&quot; This empty Shanghai frightens her. But Shanghai will recover from the financial crisis faster than other cities.<br /> <br /> In the novel Pand Sex, she describes the 16 million metropolis by the Yellow Sea like this: &quot;Do you know what is missing in Shanghai? The sea. [...] Shanghai is really a village.&quot; Incomparably, finally, the metaphorical description of the city: &quot;Those souls penetrate the nightly Shanghai. The pallor and emptiness are invariable. Under the sound of water scooped with bamboo baskets and leaves that are kinked, mix the sounds of cheeky and honeyed steps. Those famous streets seem like concubines in the harem, who are always ready for the favor of their ruler. These streets are crossed by the foreign concession areas, the modern dance halls, which have given up the hope for better times, the theaters, the horse betting agencys and cafes. They pass tired heroes and a population in a nightmare. They wash up from the river. Shouts like from a lonely phoenix, light reflections like a jade teapot, a sight that goes into marrow. Women with delicate and fragile posture, a skin like frozen fat, faces like the full moon. The behavior of the men is similarly trained, their character is profound, they have received the baptism of literature and art, but do not want to play the hero. The streets cross the Waipo Bridge, come closer to each other at the Broadway Mansion, climb the stairs step by step, with smooth walk, the wobbling of the butt is charming but elegant and fulfills the expectations. Their misfortune is their destiny, they have never really believed in their destiny. Finally, with an expression that is utterly unbelievable, they appear in candlelight, they have always known to hide their feelings well. They never bring anything directly to light, they do not trust anyone. &quot;<br /> <br /> ==Tao Ye 陶冶==<br /> <br /> The German Sinologist Wolfgang Kubin, who was awarded with the Chinese State Prize and the Pamir International Poetry Prize, described her works as &quot;garbage&quot; in 2006. Of course, Mian Mian is not the new Lu Xun or the new Zhang Ailing.<br /> <br /> Mian Mian at the &quot;M on the Bund&quot; restaurant in March 2009 in front of the Shanghai night club: Panda Sex has been completed.<br /> Photo: Martin Woesler<br /> <br /> She also does not represent the mainstream, but was known at the age of 17 through her breach of taboo to write about her own life of sex, drugs, alcohol and rock'n roll. As a &quot;bad girl&quot; with a &quot;talent to burn anger&quot;. She has been translated into more than 10 languages and is perhaps the &quot;most promising young writer&quot;, as the International Herald Tribune wrote on 2/8/2001, &quot;she touches the core of the experiences of her generation with her themes of sex, drugs and China's opening policy&quot; . &quot;Der Spiegel&quot; described her as &quot;China's most talented writer&quot;. The novel &quot;Candy&quot; was a bestseller under the shop counter and became a classic of youth literature. Herself appears in the novel Pandasex and expresses herself thus: &quot;Great art is like the bright moon in the night sky. He enlightens the world, but he does not light himself. His glow is only borrowed by the hidden self-luminous sun. Art has helped many people to catch a glimpse at the meaning of life. Art has invisible, sacred origins and sacred goals. It makes people recognize their true nature and their place in the cosmos. It helps people to always recognize the meaning and value of their lives again and like for the first time, and the unlimited possibilities that it offers. But many modern art has lost this insight and is therefore a prisoner of its self-imposed limitation.&quot; Whether Mian Mian's literature belongs to the rubbish heap or to the hall of fame of World Literature can only one decide: the reader himself.<br /> <br /> Is the taboo-less party girl Mian Mian dead like Little Beetle in the novel or like her friend in real life, what brought her to writing? In the novel she shines at us out of her big beautiful eyes, a whole generation of Shanghai's beauties cites her night by night. However this fan base has also become a rivalry, as can be seen in the mask-like description of the 50 girls at the gamble in the first chapter of the first part. And what does the 38-year-old think about it, who has become a little bit chubby since she quit smoking? She bought herself a swim card and says, &quot;The number of small Mian Mians has exploded! In Shanghai you can only survive if you are slim. I just have to do a little diet, then I can go back into the jet set life - because there is only one real Mian Mian! &quot;<br /> <br /> ==Wang Meiling 王美玲==<br /> <br /> Mian Mian: Panda Sex – Alternative beginning of the novel<br /> <br /> 1. Mián Mián棉棉 »Panda Sex« 熊猫. Prohibited in the People's Republic of China. Published in revised version 2/2009, 1st edition immediately out of print.<br /> German translation by Martin Woesler in cooperation with Lihua Ji, Kiepenheuer &amp; Witsch 2009.<br /> Published in Chinese: 12/04, 181 pp., Massenverlag Publishing House<br /> Rating: 1.3.<br /> Scandal book about a Shanghai love affair in free love. (cf .: La la la, Candy, Your Night my Day, cf.: Wei Hui Shanghai Baby)<br /> <br /> The title is based on the rare pairing behavior of the panda bears, which is compared with the figure &quot;older sister&quot; by her younger sister. The novel is written as a drama, with brief stage directions, which draw a painting of the mood, and then the lively, colloquial/juvenile dialogues. The dialogues get very curious, but they remain entertaining.<br /> <br /> The extract of translation is based on an older Chinese edition of the novel, as it was on the Internet in 2008. Meanwhile the novel by Mian Mian has been significantly modified for the German reader and will be published in August 2009 by the Publishing House Kiepenheuer &amp; Witsch.<br /> <br /> Critical links to the book fair<br /> http://www.de-cn.net/mag/bli/lit/deindex.htm: Many background articles on the Chinese literature and the Frankfurt Book Fair 2009.<br /> On this very informative website you will find independent information about the book fair. Even voices that criticize the book &quot;Wolf Totem&quot; find a place, which was hyped with a considerable amount of marketing effort by the publisher.<br /> <br /> German-Chinese culture network: http://www.de-cn.net/<br /> A wonderful institution, supported by the Goethe Institute (here the driving force Michael Kahn-Ackermann) and the Robert Bosch Foundation. Numerous recent Chinese contributions appear in excellent German translation (Julia Buddeberg, Andrea Schwedler), e.g. the interview with Liu Zhenyun in as a liberal known South Chinese weekly newspaper about the loneliness of the Chinese and its statement &quot;One sentence weighs more than 1000 words&quot;<br /> <br /> ==Wang Xuan 王轩==<br /> <br /> Chinese books in German translation: Authors who are read in China<br /> <br /> http://litprom.de contains a database for Chinese literature in Germany<br /> <br /> On the website of the Buch-Informations-Zentrum (BIZ) (book-information center) Beijing http://www.peking.buchinformationszentrum.org/en/ is a database &quot;deyu zhongwen ku&quot; with 700 German titles in China<br /> <br /> On the website of Frankfurt Book Fair<br /> http://www.buchmesse.de/en/fbm/programm/ehrengast/2009/01145/index.html: the following books can be found (Effective: 4/30/2009, p.r.n. the information is updated and expanded in the meantime).<br /> <br /> Listed authors are:<br /> Annie Baobei 北京<br /> Jia Pingwa / ao 西安 西安 (born 2/21/1952, lives in Xi'an)<br /> Jiang Rong姜戎 北京 (born 4/1946)<br /> Liu Zhenyun北京 (born 5/1958)<br /> A Lai Alai阿来 成都 (born 1959, lives in Chengdu)<br /> Mo Yan莫言 (born 2/17/1955)<br /> Bi Feiyu毕飞宇 &quot;平原&quot; 江苏 (born 1/1964)<br /> Yu Hua余华 杭州 (born 4/3/1960)<br /> Yang Jiang杨绛 听说在北京 (born 17.7.1911)<br /> Yu Dan北京 (born 6/28/1965, lives in Beijing)<br /> <br /> Belletristic titles (end of April)<br /> Alai [阿来, Tibetan writer]<br /> Distant Springs<br /> From the Chinese by Marc Hermann<br /> Unionsverlag - ISBN 978-3-293-00405-4<br /> <br /> Bei Dao<br /> The Book of Defeat <br /> From the Chinese by Wolfgang Kubin<br /> Hanser - ISBN 978-3-446-23283-9<br /> <br /> ► Survey and Review: Bei Dao's poems - formed as exile literature in the USA - <br /> mainly use paradox as stylistic device. This, he says, is the only way for him<br /> to discover the world in its inconsistency. By analyzing his life poetically the story has one´s say: the dispersed illusions of a poet, who has dreamed of another better world.<br /> <br /> ==Wang Yu 王煜==<br /> <br /> Feng Li<br /> Translated by: Ulrich Kautz<br /> East Asia Publishing House - ISBN 978-3-940527-14-1<br /> ► The novel is ironically telling the story of a middle-aged man, unhappy<br /> married, impotenet, with sparse hair growth, who decides in the mid-nineties of the 20th century,<br /> as the head of a &quot;Research Institute for Culture&quot; in a Chinese provincial city,<br /> to achieve something at least once in a lifetime, which matches to his principles and desires at heart,<br /> but however enmeshes himslef in a farce, of which end he<br /> no,<br /> is not quite empty-handed,<br /> but, at least! found the woman of his life, an equally prim and unconventional also<br /> intelligent and lovable personality.<br /> <br /> Guo Xiaolu<br /> From the English by Anne Rademacher<br /> Knaus - ISBN 978-3-8135-0353-1<br /> ► On a hot summer afternoon in the year 2012 the young countrywoman Kwok Yun sees a strange flying disk at the sky. Shortly thereafter she finds an injured stranger in the rice field to whom she administers first<br /> aid. On the same day, the stranger disappears again, instead two secrect-service agents appear:<br /> They want to get to the bottom of the strange UFO phenomenon. A<br /> inspection machinery overflows the inhabitants of the village. Everything and everyone is checked. On the peak of the hysteria arrives a check over $ 2,000, which was sent by the rescued foreigner from America. The money of the class enemy is finally disbalancing the life in the poor village. Three years after the sighting of the UFO the once idyllic peasant areas has become a booming economic region in where only money matters. A political parable about past, change and loss.<br /> <br /> <br /> ==Wang Yuan 王源==<br /> <br /> Ha Jin<br /> From the American English by Susanne Hornfeck, Sonja Hauser<br /> Ullstein - ISBN 978-3-550-08723-3<br /> ► The Chinese student Nan Wu and his wife Pingping decided in the summer of 1989, briefly<br /> after the events on the Tiananmen Square, to stay in the USA and to begin a new<br /> Life. It should only be a study stay, but with each year in the US rises<br /> the anger on the political conditions in the distant home. Finally they are allowed to take their<br /> six-year-old son Taotao to them, who quickly gets used to the new environment. However Nan <br /> dreams of being a great poet, and has a rough ride: he is plagued by guilt feelings towards<br /> his wife, whom he feels more solidary related to her than in love because can not forget his <br /> love of his youth Beina; also the responsibility to allow his family a <br /> secure livelihood. For over twelve years we accompany as the readers the everyday life of the family Wu, their<br /> daily struggle for homeland, love and happiness. Side by side they grow dear to our hearts because our<br /> own dreams are reflected in their dreams.<br /> <br /> Hong Ying<br /> From the Chinese by Claudia Kaiser<br /> Aufbau - ISBN 978-3-351-03269-2<br /> ► In the year 1907 - the Qing dynasty still reigns in China - Cassia, a poor orphan girl<br /> from the country, is sold from her uncle to a famous brothel. Although she can not fulfill the ideal of beauty of the era, <br /> she becomes the mistress of Master Chang, the leader of the dreaded triad of Shanghai.<br /> After his assassination remain two ways for her: a life in humility and self-denial, or one<br /> full of pomp, power and passion. Hong Ying describes the rise and fall of a confident woman,<br /> who went down in history as a famous concubine and godmother of Shanghai.<br /> <br /> ==Wei Honglang 韦洪朗==<br /> <br /> Li Dawei<br /> From the American English by Anne Rademacher.<br /> With comic drawings by Sheng Tao<br /> Knaus - ISBN 978-3-8135-0336-4<br /> ► 4th June 1989: The student riots culminate in the form of the massacre on the Tiananmen Square. The art student and comic artist Dawei, actually a non-political<br /> loner, who is opposed to every form of collectivism, loves the student leader Little Kim. As he is looking for her <br /> in the turmoil on the Tiananmen Square, he finds himself in the riot , and experiences the bloody downfall.<br /> He does not find Kim, but instead a rather distracted cat, which he takes <br /> Home. One evening the cat begins to speak. He has great plans and wants to be a comic star in<br /> the USA. And in fact he succeeds to do a trip to Hollywood. Dawei stays home, beats his way through life with different jobs and escapes again and again into his comic dream worlds. Finally he follows his cat, hoping to find again his great love Little Kim in America. But the<br /> &quot;Golden West&quot; holds a nasty surprise for him: Haohao is abducted, and suddenly <br /> Dawei finds himself as a protagonist of a superhero comic.<br /> <br /> Li Er<br /> From the Chinese by Thekla Chabbi<br /> Klett-Cotta - ISBN 978-3-608-93794-7<br /> <br /> Li Tai-bo<br /> Poems<br /> Translated by: Günther Debon<br /> Reclam - ISBN 978-3-15-018675-6<br /> <br /> Li Yiyun<br /> From the American English by Anette Gruber<br /> Hanser - ISBN 978-3-446-23421-5<br /> ► The inhabitants of a small provincial city near Beijing set off for an important <br /> event - a young woman should be executed. Her crime: she, who was during the cultural revolution<br /> one of the most fanatical Red Guardists, has recant Communism. Her mother performs <br /> defiantly the traditional rituals for the dead, while Shan's father, a subtle intellectual, has long ago given up on <br /> his daughter, who brought so much misfortune to others. Both do not sense which<br /> far-reaching consequences this death will have. For example for Kai, the radio announcer, who <br /> is the voice of the party in public, but by now doubts about what she is doing. For the<br /> crippled Nini, who is held like a slave in a household of nothing but girls. For the<br /> little Tong, who is neglected by the parents and is only loved by his dog.<br /> The novel draws a microcosm, which offers a plastic image of China in the late 1970s.<br /> <br /> ==Wei Yafei 魏亚菲==<br /> <br /> Liao Yiwu<br /> From the Chinese by Hans Peter Hoffmann, Karin Betz and Brigitte Höhenriede<br /> Fischer - ISBN: 978-3-10-044812-5<br /> ► A prostitute, a Buddhist abbot and the manager of a social institution<br /> Falun Gong supporter, a former Red Guard and a Feng Shui Master - she and many others<br /> Liao Yiwu, one of the most famous authors of China and himself a former political prisoner, asked them all with respect,<br /> empathy and humor about their lives and their hopes.<br /> These unique conversations let us discover a China that we can not see anywhere else<br /> - a China of the outcasts, homeless, beggars and street musicians, whose<br /> Dignity, wit, and humanity could not be charged by anyone. <br /> <br /> Liu Heng<br /> From the Chinese by Ingrid Müller and Zhang Rui<br /> Hanser - ISBN 978-3-446-20534-5<br /> ► The servant never forgot the moment when he first saw the bride of the young Mr. Cao:<br /> during pouring rain, she got out of her red litter, and though he had only seen her too big feet,<br /> he fell in love forever. The future spouse has different sexual inclinations, but the<br /> strange guest, whom he brought from abroad, is feeling the same as the servant. The<br /> French engineer should actually install a matchmaker factory in the Chinese province,<br /> but the young Mr. Cao experiments secretly with explosives instead of matches. The older<br /> people do not care about the welfare of the house - the father always tries the<br /> most odd remedies, the mother has retreated as a Buddhist hermit - and therefore<br /> the eldest son rules with an iron fist over the degenerate extended family. These hustle and bustle is observed by the young servant, who is also witnessing what is going on in the joints by the river,<br /> in the brothels and the tea houses.<br /> In the Middle Kingdom dominate famine and<br /> civil wars, the old order is breaking, and lords and servants are sucked into the whirlpool of these events.<br /> <br /> ==Wen Sixing 文偲荇==<br /> <br /> Liu Zhenyuns (51), who was ranked No. 1 in China's bestseller list in 2008 - a mix-up thriller about a confused bag, whose content can become dangerous for some important people.<br /> <br /> Liu Zhenyun<br /> From the Chinese by Marc Hermann<br /> DIX Publishing House ISBN 978-3-941651-01-2<br /> ► As Liu Yuejin’s , a good-natured and naive cook on a Beijing construction site, money bag is<br /> stolen, a world collapses for him. In it were cash and a promissory note for buying himself <br /> a small restaurant and making himself self-employed. The victim goes on a chase for<br /> his bag - a hunt that takes him deeper and deeper into the local underworld.<br /> Instead of his own, he gets to another stolen bag, which belongs to a formerly multi-million dollar now heavily <br /> indebted construction entrepreneur, and contains a memory stick with highly volatile material.<br /> In the following series of coincidences and implications, sneaky intrigues and chess moves,<br /> the allegedly simple cook Liu Yuejin proves to be an amazing sly dog and gets out of a tight spot.<br /> However he has caused a domino reaction of complexities<br /> from which – that will be clear in the end – he will not be able to free himself so quickly.<br /> <br /> Liu Zhenyun<br /> E-book<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-03-6<br /> <br /> Lu Xun<br /> From the Chinese by Raoul Findeisen, Wolfgang Kubin, Florian Reissinger<br /> Unionsverlag - ISBN 978-3-293-00407-8<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> <br /> Ma Jian <br /> From the English by Barbara Heller<br /> Schirmer Graf - ISBN 978-3-86555-063-7<br /> ► When Ma Jian turned thirty, eight years after Mao's death, he decided to move on from the tight boundaries of Beijing.<br /> His country began to change and he wanted to get to know it. Nannan, his little<br /> daughter, was always with her mother; his girlfriend cheated on him; he felt supervised as an artist;<br /> his inspiration for writing or painting was at the end. He bought himself a train ticket to the furthest<br /> Western border of China and set out.<br /> Ma Jian's journey, by train and by hitchhiker, took three years and beaconed him to the lonely high valleys of<br /> Tibet, the iconic sites of Buddhism, the beautiful salt deserts and villages<br /> where the time stood still between the Middle Ages and communism.<br /> <br /> Mo Yan<br /> Translated by: Martina Hasse<br /> Horlemann - ISBN 978-3-89502-272-2<br /> ► The novel begins on the 1 January 1950 in hell. Shortly before the traditional order of the rural China has been abolished by Mao Tsetung’s agrarian reform.<br /> For two years Prince Yama, the ruler of the underworld, has conquered the landowner Ximen Nao with every possible torment<br /> to force him to accept the charges, which lead to his<br /> execution by the small farmers. But Ximen Nao persistently asserts his innocence.<br /> Finally Yama gives in reluctantly and allows Ximen to return to the earth to his former possessions in the <br /> impoverished Shandong. But when he arrives there, he finds out to his disappointment<br /> that he was not reborn as a man, but as a donkey. With the eyes of the beast he traces the fate of his former family, his friends, rivals and enemies.<br /> Further reincarnations cause him to become a bull, a pig, a dog and a monkey and<br /> finally to a boy with a big head, who has an astounding memory and a talent for<br /> languages. From the rough and extraordinarily entertaining perspective of each character,<br /> this novel tells the last 50 years of the stormy history of China.<br /> <br /> Mo Yan<br /> From the Chinese by Karin Betz<br /> Island ISBN 978-3-458-17446<br /> <br /> Mo Yan<br /> From the Chinese by Andreas Donath<br /> Unionsverlag<br /> <br /> ==Wu Kai 吴恺==<br /> <br /> Pu Yi<br /> From the Chinese by Richard Schirach and Mulan Lehner<br /> Paperback edition, dtv - ISBN 978-3-423-21168-0<br /> ► Pu Yis exciting autobiography, source material for Bertolucci’s excellent film that won nine Oscars <br /> &quot;The Last Emperor&quot; gives absurd and also fascinating insights into the world of the Forbidden City that has sunk with him<br /> and leads from the confusion of the Chinese Civil War to the prisons of the Peoples’s Republic <br /> where Pu Yineun was given a longstanding reeducation, which made the former ruler of millions to a convinced follower of Mao and the &quot;New Person&quot;<br /> <br /> Qiu Xiaolong<br /> From the English by Susanne Hornfeck<br /> Zsolnay - ISBN 978-3-551-05461-4<br /> ► On a traffic island in the middle of Shanghai, the corpse of a woman is found at dawn. She<br /> is wearing a tight red silk dress, a &quot;qipao&quot;, as it was frowned upon during the cultural revolution, and for <br /> now comes back into fashion Shortly afterwards one discovers a second and soon afterwards a third<br /> female corpse. Chief Inspector Chen, who is the only one who knows how to get the psychological profile of a serial killer,<br /> deals with a real estate scandal and finally wants to crown his literature studies with an academic degree. In the meantime, his young colleague strikes out as<br /> a decoy on a dangerous mission ...<br /> <br /> Qiu Xiaolong<br /> Translated by: Susanne Hornfeck<br /> Paperback edition, dtv - ISBN 978-3-423-21128-4<br /> ►Chief Inspector Chen has long dreamed of a trip to America. And now the<br /> romancing policeman is commissioned to accompany a writer delegation to the USA. But the onetime opportunity<br /> is more than unfavorable for Chen. For he has received an order which actually requires his full<br /> commitment in Shanghai: After the death of a policeman in a brothel, the supreme party administration obliges him to finally put atop to the activities of the &quot;red rats&quot; - corrupt officials and bribes selling<br /> neocapitalists. However, as early as the first investigations, Chen has to realise that he will have to deal with powerful<br /> party leaders who are not sticking at nothing...<br /> <br /> 摘自理查德席拉赫和木兰莱纳中文平装版书籍中有关溥仪的记载。dtv - ISBN 978-3-423-21168-0 ► 情节激动的溥仪的自传是贝托鲁奇拍摄的优秀电影《末代皇帝》的文献参考来源，这部电影获得了九项奥斯卡大奖，他对紫禁城的世界给予了荒谬而迷人的见解。溥仪在中国内乱、战争不断期间，经历了从在紫禁城里的生活一直到新中国成立被送入人民共和国的监狱里接受改造的生活，他被赋予了长期的再教育，使他这位曾经统治过许多人的统治者面目一新，成为了毛泽东思想的忠实追随者和人民共和国的新生公民。<br /> <br /> 裘小龙摘自苏珊娜•霍恩菲克•兹索尔内英文版书籍的记载。 - ISBN 978-3-551-05461-4►黎明时分在上海市中心的一个交通要道上，发现了一具女尸。这具女尸穿着一件紧身的红色丝绸长裙，一件“旗袍”，这种样式在文化大革命期间曾遭到人们的冷遇，现在又流行起来了，不久之后，人们发现了第二具女尸，过了不久又发现了第三具女尸。陈警长是唯一一个擅长如何模拟连环杀手心理特征的人，他处理过一桩房地产丑闻案件，最后他希望自己的文学研究能够获得一个学位。而与此同时，他的年轻同事在一次危险的任务中充当了诱饵……<br /> <br /> 裘小龙所翻译的苏珊娜•霍恩菲克平装版书籍的记载。 dtv - ISBN 978-3-423-21128-4►陈警长一直梦想着去美国旅行。现在，这位充满浪漫风度的警察被派去美国参加一个作家代表团大会，但是时机对陈警长来说非常不好。因为他收到了一份命令，上级需要他在上海着手解决一件案子。继一名警察在妓院执行任务时牺牲后，党的最高行政当局责成他查获捣毁一个靠腐败官员和贿赂新兴资本家起家的“红老鼠”活动集团。然而，早在第一次调查时，陈警长就应该意识到，他将不得不对付那些拥有一切、权势滔天的利益集团首脑们……--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:39, 3 October 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> <br /> Jiang Rong<br /> <br /> From the Chinese by Karin Hasselblatt<br /> Goldmann - ISBN 978-3-442-31108-8<br /> ► During the cultural revolution in the 1960s the Chinese student Chen Zhen is sent to the interior <br /> Mongolia. There he shall learn about the life of nomadic cattle breeders. Immediately he is<br /> completely captivated by this completely unknown and archaic world. On the side of<br /> Bilgees, his old Mongolian teacher, he defies snowstorms and torriding heat, and gets<br /> insight into the ancient myths and traditions of the Mongolian people. Especially Chen Zhen becomes acquainted with the wolves, whose wisdom and courage the have always fascinated Mongols – and soon connects him a deep love to a wolf-boy, which he is breeding. But then disaster announces itself, because when the Chinese sense the economic potential of the Mongolian steppe, greed for profit<br /> and blind faith in progress are threatening to destroy the centuries-long balance between man and nature …<br /> <br /> Tei Chiew-Siah<br /> From the English by Claudia Feldmann<br /> Droemer - ISBN 978-3-426-19823-0<br /> ► China 1875: The small pavilion at the pond is the favorite place of the young Mingzhi. Finally he has a safehold, where he can prepare himself for the examination of Mandarin. By becoming an officicial he will fulfill the dream of his grandfather and give the family power and honor But strangers bring unrest into the country - and the eyes of a young woman confusion in Mingzhi's heart.<br /> <br /> Emily Wu / Larry Engelmann<br /> <br /> Paperback Edition, Droemer - ISBN 978-3-426-78179-1<br /> ► Emily Wu is still a child when Mao's cultural revolution throws her world into turmoil. As a daughter of a professor<br /> she must experience something unimaginable: Her family and she herself are again and again exposed to<br /> repressions and humiliations. Harassment, torture and rape are the order of the day. But with much courage and inventiveness, Emily succeeds in breasting her destiny<br /> and to win the daily struggle for survival. In the end she has matured in the years of terror – and finds a first love ...<br /> <br /> ==Wu Qiong 吴琼==<br /> <br /> Ouyang Xiu<br /> From the Chinese by Anne Guder-Meng<br /> Ostasien Verlag - ISBN 978-3-940527-24-0<br /> ► Ouyang Xiu (1007-1072), a court official, who exceled as a historian, poet and essayist at the same time, belonged to the leading figures of the Song time (960-1279). In his Guitian lu,<br /> literally &quot;notes after returning to the fields&quot;, he teases in a total of 116 anecdotes<br /> about current mischief at the imperial court and about the quirks of his colleagues at court. As a<br /> typical work of the genre &quot;brushes&quot; (biji) is here primarily an<br /> entertainment literature for the educated upper class given. But the attentive reader feels behind the subtle<br /> mockery the voice of the strict Confucian, who sets high standards on himself and on others and who sees the reason for the dysfunctions of his time especially in the misconduct of people in high<br /> positions. This book contains beside a first complete translation of the Guitian Lu into a Western language also the original, an introduction as well as numerous helpful comments for the text understanding..<br /> <br /> Xu Lu<br /> From the Chinese by Anna Stecher and Zhang Weiyi<br /> Edition Raetia - ISBN 978-88-7283-305-6<br /> ► &quot;And I am dumb, can not tell the weather winds / How the time of stars ticks the sky.&quot;<br /> These lines of the poet Dylan Thomas are preceded in the novel by the Chinese author Xu Lu.<br /> It is precisely this poetic ticking of time – in Chinese Dida, similar to the onomatopoeicTicktack - that forms<br /> the background melody of this novel. Xu Lu tells the story of Weila, Di Xia, Yu Qian and Huo<br /> Yining, four young people, their experiences and dreams. The novel is characterized by<br /> overlapping Language Levels: Xu Lu tries to break through the tight cage of the Chinese language with a for<br /> the so-called &quot;after-80s generation&quot; (ba ling hou) typical mix of everyday language, literary language<br /> and youthful street slang. Thus language and content unite into a portrait of a generation that is loooking for identity - in a country in turmoil.<br /> <br /> ==Wu Xiang 邬香==<br /> <br /> Xu Zechen<br /> From the Chinese by Marc Hermann<br /> Berlin Taschenbuch Verlag - ISBN 978-3-8333-0599-3<br /> ► Dunhuang is in his mid-twenties. Driven by the dream of making big money in the capital<br /> he travels to Beijing. He joins a gang of document counterfeiters and works with his friend Baoding<br /> as a recruiter and deliverer on the street. The business is going well until they begin to be careless<br /> and the police arrests them. Three months later, Dunhuang comes free and goes once again to the bad. He gets to know the somewhat older Xiaorong, they sell DVD bootlegs, they<br /> have sex, then Xiaorong reconciles with her ex-boyfriend, and Dunhuang must battle his way alone.<br /> He sells porn and meets the pretty Qibao, they become a couple. But Qibao keeps an abundant eccentric life and is arrested ...<br /> <br /> Yan Lianke<br /> From the Chinese by Ulrich Kautz<br /> Taschenbuchausgabe, List, ISBN 978-35-4860-909-6<br /> ► A brave soldier and the sex-hungry wife of a divisional commander reverve Maos China<br /> uncompromisingly their love and spark the most beautiful, crazy and wild counterrevolution<br /> of the People's Republic. Yan Lianke's novel became an easy prey for the censorship in China and got an international cult novel on the internet.<br /> <br /> Yang Jiang<br /> From the Chinese by Monika Motsch<br /> Schirmer Count<br /> ► Yang Jian is the widow of the famous writer and scholar Qian Zhongshu (1910-<br /> 1998). In her novel she portrays her life with Qian Zhongshu and the daughter of the two - up to<br /> her tragic death. But first, she describes the life of the three in a thrilling and humorous way:<br /> wedding, studying in Oxford and Paris, birth of the daughter, returning to China which ia occupied by Japan;<br /> then the founding of the PRC, Qian Zhongshu's work in the English translation committee of the works by<br /> Mao Zedongs, political campaigns and cultural revolution; Finally rehabilitation and seniority. Yang Jian<br /> not only illustrates impressively the development of the three main characters, but also the<br /> upheavals of the Chinese society into the 21st century.<br /> <br /> ==Wu Yilu 吴一露==<br /> <br /> Yang Lian<br /> From the Chinese by Wolfgang Kubin and Karin Betz.<br /> Suhrkamp - ISBN 978-3-518-42121<br /> <br /> Yang Xianhui<br /> From the Chinese by Katrin Buchta.<br /> edition suhrkamp - ISBN 978-3-518-12591<br /> <br /> Yu Hua<br /> From the Chinese by Ulrich Kautz<br /> Fischer - ISBN 978-3-10-095803-7<br /> ► Two brothers - two lives. Li is a clever businessman. He sells garbage and worn out<br /> suits from Japan. Li scoops up millions. Brother Song is prudent, an aesthete and eternal<br /> misadventurer. A bit too good for the modern China – the wild capitalism. But he also wants to share in the<br /> economic miracle. So he enlarges his breast surgically to sel a gel to the countrywomen which makes the breasts fuller. Brüder is the tragicomic story of Li and Song, who survive<br /> the horrors of the cultural revolution and try their luck in the new China.<br /> <br /> Zhang Jie<br /> From the Chinese by Eva Müller<br /> Unionsverlag<br /> <br /> 杨莲，沃尔夫冈·库宾和卡琳·贝茨译（中译德），苏尔坎普出版社 -国际标准书号：978-3-518-42121<br /> <br /> 杨显惠，卡特林·布克塔译（中译德），苏尔坎普出版社 -国际标准书号：978-3-518-12591<br /> <br /> 余华，高力希译-国际标准书号：978-3-10-095803-7 ►《兄弟》-两种不同人生。李光头是一个聪明的商人，他倒卖日本来的废物和旧西服，并因此赚的腰缠万贯。而宋岗谨慎细微，是一个唯美主义者，也是一个永远的不幸者。这一角色对于现代中国-疯狂的资本主义来说，太过于美好。但是他也想在这一场经济奇迹中分一杯羹，于是他自己做了丰胸手术去卖丰乳霜。《兄弟》描述了李光头和宋岗两兄弟的悲惨故事，他们一边在文化大革命的恐怖之中谋求生存，一边在新中国碰碰运气。<br /> <br /> 张杰，梅薏华译（中译德），联合出版社--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:54, 3 October 2020 (UTC)<br /> <br /> ==Wu Zijia 吴子佳==<br /> <br /> Zhu Wen<br /> From the Chinese by Frank Meinshausen<br /> A1-Verlag, ISBN 978-3-940666-07-9<br /> ► Six stories about the modern China: laconic, with wit and sarcasm, Zhu Wen draws<br /> the image of a Chinese society that is caught between communism and capitalism<br /> in which all values and securities begin to totter.<br /> A boat trip on the Yangzi, which is ill-starred from the beginning. Meanwhile the first-person narrator feels without his assistance imperiled in Kafkaesque manner to the arbitrariness of new people; a factory worker who accidentally gets caught in the clutches of a mafiaous family, which accuses him that he bumped with a bicycle into their grandfather; a young man, who is compelled by the family of a friend to keep night watch at the sickbed of the freshly operated father.<br /> Unexpectedly he is exposed to the whims of the father and to the apparatus of a ramshackled, profit-oriented hospital; or the first-person narrator in the title story, a luckless writer in a Chinese<br /> provincial town, who gets a visit from his father and wants to make him a few nice days, in fact<br /> with the things that are most important for him in his own life: money and sex.<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> <br /> Zhu Xiao-Mei<br /> From the French of Anna Kamp<br /> Kunstmann - ISBN 978-3-88897-557-8<br /> ► Beijing 1966: The musical genius kid Zhu Xiao-Mei is a great career as a Concert pianist predicted. But while Xiao-Mei is studying at the Conservatory,<br /> the Cultural revolution is starting. The cosmopolitan and culture loving Zhu family is suddenly considered as &quot;bourgeois&quot;<br /> which means in Mao's new China decadent, dangerous, counterrevolutionary. The young girl witnesses bewilderedly how notes get burned, her teachers get publicly humiliated, even executed. No student<br /> Can escape the force for denunciation and permanent self-criticism.<br /> Like all her classmates and relatives, Xiao-Mei is sent to a labor camp, spends five<br /> years of unimaginable hardship in a no-man’s-land on the edge of Mongolia. After years without music<br /> she discovers an old accordion in the camp, hesitantly hits a few keys. A melody is rising<br /> and with it the hope for another life.<br /> Now nothing can stop her: she puchases a piano, exercises like a possessed, flees from the camp<br /> to Beijing, finally arrives abroad after Isaac Stern's Chinatournee. Ten years takes her<br /> adventurous odyssey via Hong Kong, Los Angeles and Boston until she finally becomes in Paris an<br /> internationally acclaimed pianist and Bach interpreter.<br /> <br /> Anthologies<br /> Olga Barrio Jiménez / Eva Schestag (Eds.)<br /> A collection of Chinese classics. Volume I - IV<br /> Translated from the Chinese by Manfred Porkert<br /> Fischer<br /> ► The Chinese literature is one of the oldest and richest literatures of the world. In four volumes and with numerous retranslations the collection of Chinese classics provides in its form a unprecedented panorama of the classical Chinese literature, poetry and novels in German.<br /> <br /> 朱晓玫<br /> 来自法国的坎普<br /> 艺术家 国际标准书号978-3-8897-57-57-8<br /> ► 北京 1966： 正如一位钢琴音乐家所预言，朱晓玫是一个音乐神童。但是当晓玫在音乐学院学习的时候，文化大革命开始了。胸怀世界，热爱文化的朱家突然被视为“资产阶级”，这在毛泽东当政的新中国被认为是腐朽的，危险的，反革命的。这个年轻的女孩困惑的目睹了自己的笔记本被烧毁，她的老师们被公开羞辱，甚至被处决。任何学生都逃不脱谴责和无尽的自我批评。和她所有同学和亲戚一样，晓玫被送到了劳教所，在蒙古边缘的无人地带度过了五年难以想象的艰苦生活。多年没有接触过音乐，后来她在劳教所里发现了一把旧手风琴。她犹豫地按了几个键，空气中升起了一段旋律，随之升起的是对往生的希望。现在，没有什么能够阻止她：她一逮到钢琴就像着了魔似的练习。她从劳教所逃到北京，最终又跟随艾萨克斯特恩的《唐人街》来到国外。她的冒险经历长达十年，途经香港，洛杉矶和波士顿，最终在巴黎成为国际知名钢琴家巴赫的翻译。<br /> <br /> 选集<br /> 奥尔加·巴里奥·希门内斯/伊娃·施塔格（编辑）<br /> 《中国古典名著集》。第一卷至第四卷<br /> 曼弗雷德·波克特·菲舍尔译自中文<br /> ►中国文学是世界上最古老、最丰富的文学之一。《中国古典名著集》共分四卷，经多次重译，以前所未有的方式用德语展示了中国古典文学、诗歌和小说的全貌。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:11, 2 October 2020 (UTC)Xiao Shuangling<br /> <br /> ==Xiao Ting 肖婷==<br /> <br /> Benjamin et al.<br /> Tokyopop - ISBN 978-3-86719-738-0<br /> ► 10 Chinese comic artists have got together to convey their<br /> sight of Beijing in word and image in a joint book. The approaches to the subject are very different, graphically extraordinarily diverse and always very personal.<br /> <br /> Alice Grünfelder (Eds.)<br /> Unionsverlag - ISBN 978-3-293-00406-1<br /> ► Texts by Tibetan writers of the younger generation: Alai, Jamyang, Taering Oser,<br /> Tenzin Tsundue et al.<br /> <br /> Volker Klöpsch (eds.)<br /> insel taschenbuch - ISBN 978-3-458-35117-7<br /> ► A butterfly in the bamboo holt, a rain of fragrant peach blossoms, shimmering jade in the moonlight<br /> - in images full of grace and poetry, the great Chinese masters extol the beloved. The<br /> present selection gathers the most beautiful poems from three thousand years. They are partially<br /> presented in German translation for the first time.<br /> Classical Chinese tales and stories<br /> Insel<br /> <br /> Liu Hsiang<br /> 4 volumes<br /> From the Chinese by Hans Stumpfeldt<br /> Ostasien Verlag ISBN 978-3-940527-20, 978-3-940527-20-2, 978-3-940527-21-9, 978-3-940527-22-6<br /> ► The Shuo-yüan is an early work of the Chinese narrative literature, which is here for the first time in a<br /> Translation into a Western language. It contains more than six hundred stories that are assembled after ethical-moral<br /> criteria by the librarian and archivist Liu Hsiang (79-8 BC). The stories are taken from a large number of earlier works. Many of them dropped out early from the written tardition To each of the twenty chapters an introduction will be attached.<br /> <br /> 本杰明等，Tokyopop（日本著名出版社）-国际标准书号 978-3-86719-738-0<br /> ► 10个中国漫画家联合创作、汇聚成书，用文字和图画来描绘他们眼中的北京。这种形式是不同寻常、千姿百态而又极具个人色彩的。<br /> <br /> 爱丽丝 戈伦斐德（编辑），联合出版社-国际标准书号 978-3-293-00406-1<br /> ► 来自年轻一代西藏作家的文字：阿莱，嘉央诺布， 达林奥泽，丹增尊珠等等<br /> <br /> 福尔克尔 克勒普夫科（编辑），因泽儿出版社-国际标准书号-978-3-458-35117-7<br /> ►竹林中的一只蝴蝶，桃花落英缤纷，香气四泄，月光下闪闪发亮的翡翠<br /> -中国大师们用充满诗意和优雅气质的意象歌颂挚爱。现有诗歌选集收录了三千年来中国古代最优美的诗歌。其中部分首次出现德语译本。<br /> 经典中国传说故事<br /> 因泽尔<br /> <br /> 刘向<br /> 4卷<br /> 司徒汉选自中文<br /> 东亚出版社 国际标准书号-978-3-940527-20, 978-3-940527-20-2, 978-3-940527-21-9, 978-3-940527-22-6<br /> 《说苑》是中国叙述文学的一部早期作品，在此首次译作西方语言。该书包含了600多个道德准则故事，由图书、档案管理家刘向收录编辑而成。许多故事早已经偏离了书面传统，其中每二十章都附有介绍。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:57, 3 October 2020 (UTC)Xiao Ting<br /> <br /> ==Xiao Xi 肖茜==<br /> <br /> Li Jingze / Jing Bartz (eds.)<br /> From the Chinese by Hanne Chen, Johannes Fiederling, Karin Hasselblatt, Marc Hermann, Ulrich<br /> Kautz, Irmy Schweiger<br /> DIX Verlag, ISBN 978-3-941651-00-5<br /> ► China is on the road, in turmoil and departure. Common certainties are shaken, conventions<br /> dissolve themselves. The present stories capture this dynamism that can hardly be hold in place. The ten<br /> Authors live in China and are also the inhabitants of a globalized world. This dynamic makes<br /> the stories so thrilling and accessible to Western readers.<br /> Broadly being spared from the trauma of the Mao period, the young authors keep pace with the times:<br /> unagitated, entertaining, and ironic, without a wagging finger and without false nostalgia, but<br /> even without the transfiguration of the gold-rush mood, that we, in the West, so gladly associate with today's China. In their very individual way they hold up a mirror to China.<br /> <br /> Li Jingze / Jing Bartz (eds.)<br /> E-book.<br /> DIX Verlag - ISBN 978-3-941651-02-9<br /> <br /> Christian Lux / Hans-Joachim Simm (eds.)<br /> Inael ISBN 978-3-458-17418-9<br /> ► The Insel-Almanach for the year 2009 gives with exemplarily texts an overview on the Chinese literature in the past and present. In addition to that there are images, that convey an impression on <br /> Chinese art and calligraphy.<br /> <br /> ==Xiao Yining 肖伊宁==<br /> <br /> Frank Meinshausen / Anne Rademacher (eds.)<br /> dtv - ISBN 978-3-423-13770-6<br /> ► The everyday life in the metropolises and in the province, the life in the homeland and in the emigration,<br /> family ties, friendships and love relationships, deep–rooted traditions and dreams of<br /> a self-determined future - the stories of contemporary Chinese authors are so<br /> diverse and dynamic like the Middle Kingdom itself.<br /> The stories by Fan Wu, Qi Ge, Yiyun Li, Ma Jian, Wu Chenjun, Xiaolu Guo, Sheng Keyi, Ha Jin, Li Dawei, Luo Lingyuan, Li Er and Zhu Wen. Mo Yan, Alai, Ye Zhaoyan, Li Feng, Feng Jicai. Short stories from China. Bilingual German-Chinese<br /> From the Chinese by Karin Hasselblatt and Katrin Buchta<br /> Chinabooks - ISBN 978-3-905816-19-8<br /> <br /> Alexander Saechtig (eds.)<br /> Weimar Schiller-Presse - ISBN 978-3-8372-0337-0<br /> <br /> Helga Sönnichsen (eds.)<br /> Ostasien Verlag - ISBN 978-3-940527-16-5<br /> So writes the author of the in<br /> this volume gathered poetry translations in her introduction. The poem translations are joined by the particular Chinese originals, but they are also accompanied by carefully<br /> selected pictorial material from the time the texts come from.<br /> <br /> <br /> 弗兰克·梅恩斯豪森/安妮·拉德玛彻 <br /> 数字电视-国际标准书号 978-3-423-13770-6<br /> ►在大都市和省内的日常生活，在家乡和移民后的生活，亲情，友谊和爱情，根深蒂固的传统和自主选择的未来的梦想-当代中国作家的故事就是这样多样而又充满活力，就像中国一样。范武、齐歌、李依云、马健、吴辰君、郭小璐、盛可颐、哈金、李大为、罗玲媛、李尔、朱文。莫言、阿来、叶兆言、李峰、冯骥才。中国短篇小说。汉德双语汉译：Karin Hasselblatt和Katrin Buchta<br /> Chinabooks-国际标准书号 978-3-905816-19-8<br /> <br /> Alexander Saechtig（编辑）<br /> 魏玛席勒出版社-国际标准书号 978-3-8372-0337-0<br /> <br /> Helga Sönnichsen（编辑）<br /> Ostasien Verlag-国际标准书号978-3-940527-16-5<br /> 所以这本书的作者在她的介绍中收集了诗歌翻译。诗歌翻译与特定的中文原著连接，创造文本的同时还精心挑选了辅助的图片资料。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:28, 2 October 2020 (UTC)Xiao yining<br /> <br /> ==Xie Fan 解帆==<br /> <br /> Hans Stumpfeldt (eds.)<br /> Ostasien Verlag - ISBN 978-3-940527-18-9<br /> ► The Han period (208 BC - 220 AD) was an epoch in which fundamental historical and philosophical traditions were originated.<br /> It is less known that it was also the May of the Chinese poetry. This volume brings together a selection of poems that were written by members of the<br /> the most diverse classes, and which still appeal in their beauty and meaningfulness to the present reader. The poems are presented with the particular original text<br /> and embedded in its historical, cultural and literary context.<br /> <br /> Richard Wilhelm (eds.)<br /> Marix - ISBN 978-3-86539-201-5<br /> ► One hundred fairy tales from the Middle Kingdom that reveal us more about Chinese thinking and feeling than the most academic treatises. This probably most famous collection of Chinese folktales was written down by<br /> Richard Wilhelm in Tsingtau in a long patient translating work.<br /> It is a whole cosmos of fairytale poetry: fairy tales and legends about gods,<br /> stories of saints and sorcerers, of natural and animal spirits, also ghost stories,<br /> Historical legends and finally literary refined fairy tales like that of the monkey Sun Wu Kung,<br /> which plays through the mythological motifs and is filled with smiling humor. Soon we will be enchanted by<br /> Moon Fairy and Queen of Heaven, soon we will get to know Confucius, Laotse and the eight immortals. We<br /> experienced fantastic things about the spirits of the yellow river, the sect of the white lotus, the<br /> Monk at the Yangtsekiang.<br /> <br /> ==Xie Ziyi 谢子熠==<br /> <br /> Children’s and young people’s books<br /> Cui Aner<br /> Ueberreuter - ISBN 978-3-8000-5503-6<br /> ► Chi You, the spirit of evil, has invaded the Dragonland where the people live. Just<br /> one can save them: Shaodian, a chosen young sage. Together with a warrior, a<br /> historian and a magician, he begins to search for the Great Dragon, the keeper of the people.<br /> <br /> Chen Jianghong<br /> From the French by Tobias Scheffel<br /> ► The small Chen grows well-guarded with two sisters at his parents and grandparents in a<br /> city in the north of China. When Mao proclaims the Cultural Revolution in 1966, life changes:<br /> people are arrested and books burned. The family has little to eat. At school<br /> the teachers swear their students on the principles of Mao. Also Chen becomes a small red guard and<br /> proudly wears the red armband. One day the father receives a letter, which tells him that he has to go in a reeducation camp near the Russian border. The family hears just seldom of<br /> him. It is only after Mao's death in 1976 that the father can return.<br /> <br /> Chen Jianghong<br /> Lian<br /> 2. Edition, Moritz - ISBN 978-3-89565-184-7<br /> ► Because there were just a few fish this year, Lo, the fisherman, is sad. One day he receives from<br /> an very old woman in gratitude for bringing her in a terrible thunderstorm to the other shore of the lake, some lotus seeds. They are very special seeds, because they come from a throat of a dragon. Lo puts them in the earth and overnight a whole lotus field blooms. From one flower comes one<br /> little girl out - Lian. She is also very special, because she has a wonderful talent: Everything she touches with her magic lotus is transformed into treasures. But this evokes promptly<br /> the greed of the daughter of the Prefect...<br /> <br /> ==Xu Jia 徐佳==<br /> <br /> Chen Jianghong<br /> Translated by: Erika and Karl A. Klewer<br /> Beltz &amp; Gelberg - ISBN 978-3-407-76075-3<br /> ► The history of the painter Han Gan from the 8th century has Chen Jianghong inspired to this picture book. He lived in China and only painted horses. Like Han Gan also Chen painted his pictures on silk.<br /> Spoken by Barbara Nüsse<br /> Jumbo Neue Medien - ISBN 978-3-8337-2420-6<br /> <br /> 陈江洪创作这本画册起初是因为受到了公元8世纪的画家韩干的启发。韩干住在中国，只画马。像韩干一样，陈江洪也在丝绸上作画。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:09, 2 October 2020 (UTC)Xu Jia<br /> <br /> Daiealu<br /> edition nove - ISBN 978-3-85251-619-6<br /> <br /> Kate Dargaw / Igor Oleynikov<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-40-1<br /> ► Regularly at the beginning of the year, the Nian monster awakens in the sea, rises ashore and strikes everything<br /> it catches with itself: man and beast. Therefore, the villagers bundle their belongings together and<br /> flee into the mountains as soon as they hear its rumbling. Grandmother and grandson do not accomplish to escape<br /> and hide in the back of the house, they hold doors and windows ight locked. A beggar comes in search of something edible and wonders about<br /> the abandoned village. Of course, grandmother and her grandson share with him. And then he even has an idea,<br /> how to banish the monster: forever!<br /> For the returning villagers this is a miracle. That is why today the Chinese still celebrate their<br /> New Year's festival as the beggar showed it.<br /> <br /> 通常，在新年之初，年兽会在大海中觉醒，跃至岸上，攻击它能抓到的一切事物，包括人和兽。因此，一听到年兽的咆哮，村民们就收拾东西逃到山里。奶奶和孙子没有跟着逃跑，他们躲在屋子后面，把门窗关得紧紧的。一个乞丐过来村里讨吃食，对这里荒凉的景象感到纳闷儿。从奶奶和孙子那里得知原因之后，他想到了一个办法，可以让年兽永远消失。<br /> 年兽不见了，对回村的居民来说，这简直是天大的好事。因此，时至今日，中国人仍会庆祝春节。 --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:09, 2 October 2020 (UTC)Xu Jia<br /> <br /> ==Xu Jing 许晶==<br /> <br /> Kate Dargaw / Igor Oleynikov<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-41-8<br /> ► The Chinese count the years after 12 animals. Just why mouse, ox, tiger, bunny, dragon,<br /> snake, horse, goat, monkey, rooster, dog and pig? Well, these are the big winners of the<br /> Imperial race. But it was not that easy to be one of the chosen ones! The race, that<br /> the Jade Emperor proclaims, will be a thrill for all participants. And because the mouse went flagrantly behind the cat’s back, today the two are enemies in all countries of the world!<br /> <br /> K.T. Hao / Giuliano Ferri<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-42-5<br /> ► Dubai can absolutely not fall asleep. What a luck the little elephant got a<br /> Magic book as a gift. Since then he has been sleeping well and has the sweetest dreams - at least until he is scared that this treasure could get lost. No stash seems <br /> secure enough to him now. He climbs higher and higher. But that is not the solution. And then it happens: one day<br /> his book is gone. But because it's a magic book ...<br /> <br /> ==Xu Jing 许静==<br /> <br /> Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-72-2<br /> ► Lilli would never have thought that a visit to the Chinese restaurant could be so exciting! The<br /> mysterious restaurant owner Mr. Wang and his strange fat cat Dr. Fu dedicate divulge a secret to her. Through a charmed mirror she enters a magical world, where dragons and other fabulous beasts are living.<br /> She becomes friends with a little dragon, and when her mother travels with her through China, the<br /> Dragon is always secretly by her side And so the adventure begins, because a gang of robbers. who steal dragons aim for<br /> Lilli’s cocky, poodle-sized dragon friend ...<br /> <br /> Max Kruse and Marlies Rieper-Bastian<br /> Ueberreuter - ISBN 978-3-219-11372-3<br /> ► When Kathi's father reveals to the family that they will live for a while in China, the girl is<br /> clueless. However in the night, she receives a visit from the friendly Dragon Lung Kuan, who takes her on a<br /> journey to the far country. This is how Kathi gets to know great secrets and small differences ...<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> <br /> Maximilian Paulin<br /> Translated by: Susanne Wechdorn<br /> Tyrolia - ISBN 978-3-7022-2905-4<br /> ► Telling strange people in strange countries something about God? Today thats still a great challenge. 150 years ago a boy from a small village between the mountains of South Tyrol <br /> felt this wish deep in his heart: Josef Freinademetz from Oies. After he became a priest, he joined the Steyler missionaries and went to China. Because the Europeans wanted<br /> to establish there their rule and become rich. For sure the Chinese had understandably no pleasure with that. Josef must discover a lot of disappointments. But he does not give up. And when he is loosing his last forces,<br /> he suddenly finds out that there is still someone on his side:<br /> Fuschu. A small and very real Chinese dragon! Whether that can help him to understand the Chinese?<br /> <br /> Marie Th. Schins<br /> Sauerländer - ISBN 978-3-7941-6150-8<br /> ► When the 12-year-old Siong lands with a loud bang in the pitch-black cellar of a hotel somewhere in Hong Kong, he suspects that this journey through China will be quite exciting.<br /> In addition to his adventurous grandpa, his friends Lee and the (not always) lovely<br /> Litju accompany him . Together, they travel from the gigantic skyscraper city to Beijing,<br /> Shanghai, the Great Wall, Chengde and Hainan Island. Siong is stunned by this<br /> Versatile, difficult to access culture with its moving history.<br /> 马克西米利安·波林，翻译者：苏珊娜·魏希顿·蒂罗里亚 - ISBN 978-3-7022-2905-4 和陌生国度的陌生人谈论上帝的事？在今天这仍然是一个很大的挑战。150年前，在南蒂罗尔群山之中的一个小村庄中，有一个小男孩，他心中深深地怀着这个愿望：约瑟夫·弗赖纳德梅茨，来自奥伊斯。在他成为牧师之后，加入了斯特尔传教士，之后前往中国。由于欧洲人想在中国建立自己的统治并且致富。中国人自然不会因此而感到开心。约瑟夫想必目睹了许多令人失望的事情，但他却仍未放弃。在他用尽自己最后的力量时，他突然发现还是有人站在他这一边的：福初，一只小巧真切的中国龙！到底福初能否帮助他理解中国人呢？<br /> 玛丽·史金斯·萨兰德- ISBN 978-3-7941-6150-8 随着一声巨响，12岁的松来到了香港某处一家宾馆漆黑的地窖里。他猜想这趟中国行一定十分精彩。除了他充满冒险精神的爷爷，他的朋友李以及可爱的李菊也随他同行。他们一起，从大厦林立的香港前往北京，上海，登上长城，去到承德，海南岛。这些丰富的，难以接触到的文化，以及动人的历史故事让松感到深深的震撼。<br /> --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 14:50, 2 October 2020 (UTC)Xu Mengdie<br /> <br /> 马克西米利安·波林 <br /> 翻译：苏珊·韦登·特罗里亚<br /> -ISBN 978-3-7022-2905-4<br /> ►告诉陌生国家的陌生人一些关于上帝的事情？今天，这仍然是一个巨大的挑战。150年前，在南蒂罗尔山脉之间的一个小村庄里，有一个男孩深深地怀揣着这个愿望：来自奥伊斯的约瑟夫·弗赖纳德梅茨。成为牧师后，他加入了斯特尔传教士，并前往了中国。因为欧洲人想在那里建立自己的统治并致富，中国人显然对此并不高兴。约瑟夫无可奈何地经历了许多让他失望的事情。但是他并没有放弃。当他精疲力尽的时刻，突然发现还有人和他并肩作战：福初，一条小巧真诚的中国龙！福初是否真的可以帮助他理解中国人呢？<br /> 玛丽·史金斯·萨兰德<br /> -ISBN 978-3-7941-6150-8<br /> ►伴随一声轰鸣，12岁的松进入了香港某酒店的一个漆黑地窖之中，他预想这次中国之旅一定会非常刺激。除了他爱冒险的爷爷之外，还有他的朋友李和（并非总是）可爱的李菊陪他一起。他们一起从高楼林立的香港前往北京，上海，去了长城，承德和海南岛。 松被这种缤纷多彩，难以捉摸的文化及其动人的历史震撼到了。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:10, 2 October 2020 (UTC)Xiao Yining<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> <br /> Yang Hongying [list place 7, children’s writer]<br /> Translated by: Ulrike Lotz.<br /> Egmont Franz Schneider - ISBN 978-3-505-12660-4<br /> ► It is winter and the Jade Lake Park is not busy. Until two strange dogs appear suddenly and<br /> they behave strangely. The laughing cat and his friend, the Pekinese lady, want absolutely<br /> find out what is wrong with the two, and encounter a series of mysteries secrets ...<br /> <br /> Yang Hongying [list place 7, children’s writer]<br /> Translated by: Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12661-1<br /> ► The cats in the park are angry. On the roof of the great white tower appeared suddenly a beautiful striped cat. It is strictly forbidden to climb there up for any other cat! An extraordinary meeting is convened immediately. As an old mouse gets wind of the crazy going-ons of the cats, she figures out a plan together with the other mice ..<br /> <br /> 杨红樱【名单中第七位，儿童文学作家】<br /> 译者：Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12660-4<br /> ►正值冬日，翠湖公园人迹寥落，两只陌生的狗突然出现打破了这种平静，这两只狗行动怪异,笑猫和他的朋友--那只京巴狗,下定决心要查明这两只狗是怎么回事，因而遇到了一系列神秘的谜团...<br /> <br /> 杨红樱【名单中第七位，儿童文学作家】<br /> 译者：Ulrike Lotz<br /> Egmont Franz Schneider - ISBN 978-3-505-12661-1<br /> ► 大白塔的顶上突然来了一只漂亮的条纹猫，这让公园里的猫们很生气，其他猫爬塔顶是被坚决禁止的！这群猫立即召开了临时会议，而一只老老鼠在得知猫的疯狂行径后，便和其他老鼠一起想出了一个计划...--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:25, 2 October 2020 (UTC)Xu Pengfei<br /> <br /> ==Yang Chenting 杨晨婷==<br /> <br /> Nydia Yang<br /> From the Chinese by Marc Hermann<br /> DIX Verlag, ISBN 978-3-941651-43-2<br /> ► Picture books not only show the world through a rose-colored glasses. Divorce and break-up of parents belong today to the<br /> everyday life of many children. How do we talk about it - as parents and grandparents, educators and teachers,<br /> relatives or friends?<br /> 'The pale red balloon' loses the brightness of its color, depending on the mood of the<br /> child of divorce, because for the boy suddenly his ideal world is burst. And for a long time<br /> no one notices how he really feels, everything seems to be regulated and reorganized. Only when father and mother<br /> understand that they go separate ways like sun and moon, but will always stay together as parents for their child, his balloon begins to shine bright again.<br /> <br /> Katharina Bachmann<br /> Let's get out. About wanderlust and blowing in the distance<br /> Shaker - ISBN 978-3-86858-182-9<br /> <br /> ==Yang Hairong 杨海容==<br /> <br /> Bauer, Manuel<br /> Limmat - ISBN 978-3-85791-573-4<br /> ► On April 1, 1995, a father and his six-year-old daughter leave Lhasa and write another<br /> chapter in the sad story of the flight of the Tibetan people. The photographer Manuel Bauer has, despite<br /> obstacles and controls, participated on this life-threatening journey into freedom and documented it.<br /> <br /> Barbara Beuys<br /> Insel Paperback - ISBN 978-3-458-35118-4<br /> <br /> ==Yang Hui 阳慧==<br /> <br /> Miriam Collée<br /> Aufbau - ISBN 978-3-378-01106-9<br /> ► A small house by the Alster, a large garden with swing, the organic box in front of the door. A young<br /> family seems to be at the goal of their dreams. If there was not the job offer from China: Miriam, 35, Tobias,<br /> 37, and Amélie, 3, move into a terrace house in Shanghai Downtown, as the only long nosea in an<br /> old-established Chinese neighborhood - in a city where you can buy everything, only<br /> no fresh air. Where 20 million people live, who like to go outside just in their pyjamas<br /> and walk backwards to relax. Where the nannies have names like Crispy, Toffie or Chanel<br /> and leave one in the lurch, because they have a western nose to operate. Simply funny<br /> and sometimes on the edge of a nervous breakdown, Miriam Collée reports from the family everyday life in the<br /> Middle Kingdom.<br /> <br /> ==Yang Yi 杨逸==<br /> <br /> Anagarika Govinda<br /> Paperback edition, Fischer - ISBN 978-3-596-18351-7<br /> ► Accompanied by one of the holy men of the country, Lama Anagarika Govinda traveled for many years through<br /> a widely unexplored world that is just accessible under dangers. Its path leads through the tropical<br /> jungle, over icy heights, past marvelous blue lakes to areas that no stranger had visited before him - into the monasteriea of the rocks and hermitage of walled hermits, into religious communities,<br /> whose ancient rituals and mysteries he may attend, before temple pictures of unimaginable<br /> beauty.<br /> 在该国一位圣者的陪同下，喇嘛阿那加里卡戈文达多年来一直冒险游历于未被探索过的广泛世界。他穿过热带丛林，翻越寒冷的高地，经过壮丽的蓝色湖泊，去到除了他没有前人到过的地区。他去到岩洞中的寺院和围墙中的隐士居，他进到宗教区域，在绝美的寺庙画像前参加其古老的仪式和探寻其秘密。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 14:13, 2 October 2020 (UTC)<br /> <br /> Emily Hahn<br /> Translated by: Dagmar Yu-Dembski<br /> Edition Ebersbach - ISBN 978-3-938740-89-7<br /> ► When Emily Hahn came to Shanghai in 1935, she had already established her reputation as book author and journalist with her reports for the &quot;New Yorker.&quot; She knows she will stay here as long as they let her. It is the magic of Shanghai with its cookshops, the hustle and bustle on the streets, the rickshaws<br /> and the dancing salons that seduces her. Often ironically and with fine humor, Emily Hahn lets us participate in<br /> the feeling of life in a city that is constantly changing and in which &quot;there are still things that will<br /> never change.&quot;<br /> 1935年，当艾米丽·哈恩来到上海时，她已经凭借为《纽约客》撰写的报道建立了自己作为作家和记者的声誉。她知道她会尽可能地留在这里。这就是上海的魅力，这里有小餐馆，熙熙攘攘的街道，黄包车还有吸引着她的舞厅。艾米丽·哈恩经常幽默地调侃道让我们感受在一个不断变化的城市中生活的感觉，且这个城市中“总有一些东西会永远不会改变。”--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 14:13, 2 October 2020 (UTC)<br /> <br /> 阿纳加里卡·戈文达平装版，菲舍尔- ISBN 978-3-596-18351-7 在该国一位神职人员的陪同下，喇嘛阿纳加里卡·戈文达游历多年，历经危机穿过一片广袤的处女地。他穿过热带丛林，越过雪山高原，途经壮美的蓝色湖泊来到无人之境。—他去探寻岩石山上的寺庙和围墙中的隐士居所，他进入宗教区域，在绝美的寺庙画像前参加古老的宗教仪式，探寻其久远的秘密。<br /> 埃米莉·哈恩 译者：达格玛·尤登布斯基·伊迪圣·埃伯斯巴赫- ISBN 978-3-938740-89-7 1935年，当埃米莉·哈恩来到上海的时候，她已经凭借着自己在《纽约客》上的报道，建立了自己作为作家和记者的声誉。她知道只要他们允许，自己会一直待在这里。上海的小餐馆，熙熙攘攘的街头，以及黄包车和舞厅都是充满魔力的，无一不引诱着她。埃米莉·哈恩常常幽默地调侃，让我们体会一下在一个不停变化的城市中生活的感觉，然而这里却“仍有一些永远不变的事物”。<br /> --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 15:31, 2 October 2020 (UTC)Xu Mengdie<br /> <br /> ==Yang Yue 杨悦==<br /> <br /> Hermann Hesse<br /> Suhrkamp - ISBN 978-3-518-46106-8<br /> ► This reader book brings together the most important and most beautiful tales, narratives and reflections<br /> with Chinese motifs by Hermann Hesse as well as his essayistic and literary-critical<br /> publications and shows him as a great connoisseur of Chinese culture, literature and philosophy.<br /> <br /> Elmar Holenstein<br /> Ammann - ISBN 978-3-250-30024-3<br /> ► How different is China really? With concrete examples Elmar Holenstein works on the overcoming<br /> of europe-centered thinking. A serious culture historical comparison begins with the realization of the complexity of the<br /> own as any other culture. A Clash of Civilizations is always a Clash of Complex<br /> Civilizations. A consistent front course can not be expected. In the depths of foreign culture it can be found that there are parallels to the things that appear to us in our own as &quot;modern&quot;. Own accomplishments lose apperently their exclusivity. The West proudly points to its three centuries old »secular age«. In East Asia, the separation of religion and morality has been a peaceful aquired naturalness for two and a half thousand years. On the other hand we discover at careful comparison in our own cultural developments, which we were accustomed to view as &quot;typically Chinese&quot; or &quot;typically East Asian&quot;. Whoever believes that modalities and mentalities are culturally shaped must proof them to different<br /> Contexts.<br /> <br /> ==Yang Ziling 杨子泠==<br /> <br /> Ursula Krechel<br /> 3. Edition. Jung und Jung - ISBN 978-3-902497-44-4<br /> ►Franziska Tausig is one of many, the Berlin book dealer Ludwig Lazarus is another, and<br /> at the end there were eighteen thousand Jews who had been using one of the last loopholes since 1938<br /> and thus survived in the far-off foreign Shanghai. They came without a visa and illusions, with one<br /> suitcase and ten Reichsmark in their pockets, lawyers, craftsmen, art historians, and when they wanted to get along in this overcrowded city and the moisty heavy climate, then were powers of invention <br /> and energy challenged. Not everyone was able to do this after everything what was behind and before them.<br /> Breathtakingly diverse and complex talks Ursula Krechel about it. From long-term research developed the material to an extensive narrative curve, which brings the reader into a world,<br /> which is closer to oneself than expected.<br /> <br /> Helmut Matt<br /> Hess - ISBN 978-3-87336-911-5<br /> <br /> Sonja Piontek<br /> Conbook Medien - ISBN 978-3-934918-41-2<br /> ► Chen Luyao's grandmother still does not know that her turquoise couch does absolutely not fit to the rest of the furnishings<br /> and Sonja only learns after 17 months, that the hard-won driver’s license has been blocked<br /> and so she has been illegally driving through the People's Republic for a year and a half. Against to all<br /> experiences from the German Chinese restaurants, the guest is strictly not getting any rice served in Beijing …<br /> <br /> ==Yao Cheng 姚诚==<br /> <br /> Lisa See<br /> Der Seidenfächer<br /> Translated by: Elke Link<br /> Paperback edition, Blanvalet - ISBN 978-3-442-36757-3<br /> ► China in the 19th century: Lily and Winter Rose grow up in a world in which girls are regarded as a burden<br /> and in which the tying of the feet should also tie their heart. At the age of seventeen both get married. Thanks to the secret writing Nushu, which is reserved for women only,<br /> the friends succeed to stay in touch. On special occasions, the two girls even write<br /> poems in Nushu on a silk fan, who is always moving between them. But no one can take their<br /> desire for love, happiness and freedom ...<br /> <br /> Vikram Seth<br /> From the English by Anette Grube<br /> Fischer - ISBN: 978-3-596-16473-8<br /> ► In 1981 the Indian writer Vikram Seth traveled through the secluded marginal provinces of<br /> China: from the &quot; heavenly lake&quot; Tianchi in the north-west, he set off far from established routes to the<br /> South –as far afield as Tibet. He completed his survey of unexplored territories with his homeward journey to<br /> India via Kathmandu.<br /> <br /> ==Yao Jia 姚佳==<br /> <br /> Jonathan D. Spence<br /> From the English by Susanne Hornfeck<br /> Hanser - ISBN 978-3-446-23415-4<br /> ► When Zhang Dai was born into a well-esteemed family in 1597, the Ming Dynasty had ruled in China for over 200 years. For the contemporaries it was unthinkable that this era, that had guided the Chinese empire to a prior unattained political and cultural prosperity, could ever end. However in 1644<br /> the Manchu of the Ming Dynasty put an end to it. Zhang Dai’s family sank into insignificance. He spent the second half of his long life in rural seclusion as a private scholar and<br /> became famous as a master of the philosophical essay and chronicler of a lost era.<br /> Jonathan Spence tells the life of this scholarly eccentric - and draws at the same time the vivid panorama of a central era of the Chinese past.<br /> <br /> Hugh Trevor-Roper<br /> Translated by: Andrea Ott<br /> Eichborn - ISBN 978-3-8218-4590-6<br /> ► Jing Shan was a Manchu scholar from a noble-minded family, who was related with the Chinese empress dowager<br /> and was closely connected to all the important personalities of the Imperial Court.<br /> When he was murdered in the course of the Boxer Rebellion in 1900, it was Edmund Backhouse, who saved Shans<br /> scrolls from the flames of the looters - including a mysterious diary, that allegedly described the events at the imperial court during the Boxer Rebellion minutely. Nine years<br /> Backhouse kept his discovery a secret until he published large parts of it in China under the Empress Dowager. The book became a classic, it still determines our image of China - and<br /> is based on a grandiose counterfeiting of Backhouse.<br /> <br /> ==Yi Huan 易欢==<br /> <br /> Nury Vittachi<br /> From the English by Ursula Ballin<br /> Zhang Jie - ISBN 978-3-293-00408-5<br /> <br /> Doris Wiedemann<br /> Delius Klasing - ISBN 978-3-7688-2606-8<br /> ► For six months the authoress traveles more than 17,000 kilometers through the most populous country in the world<br /> and experiences China beyond tourist sights and state-controlled reality. She<br /> reads maps and road signs like a memory game, attends the English lessons at a<br /> middle school, climbs countless stairs and survives some adventures with the motorbike. As well she gets to know<br /> the variety of culture and cuisine, Chinese humor and Chinese hospitality at first hand.<br /> <br /> Simon Winchester<br /> From the English by Michael Müller<br /> Knaus Verlag - 987-3-8135-0287-9<br /> ► Who was John Needham? In China he is still a famous person,who shaped our image of China<br /> decisively shaped and revolutionized it completely. Till the middle of the 20th century the West looked despisingly for China, the country was regarded as hopelessly underdeveloped and backward.<br /> It was only through Needham's work that it was proofed that China was one of the oldest high cultures in the world.<br /> <br /> Li Yiyun:Die Sterblichen李翊云？书中文名？<br /> Lu Xun: Sch?nste Geschichten鲁迅 书中文名？？<br /> Mo Yan: Die Knoblauchrevolte莫言《天堂蒜苔之歌》？2002<br /> <br /> Publishing Houses of the booth „Books on China“<br /> <br /> ==Yi Zichu 义子楚==<br /> <br /> Series Sinica<br /> <br /> Vol. 26<br /> Martin Woesler:<br /> Chinese literature in German translation<br /> China as honoraray guest of the Frankfurt Book Fair 2009 – Symposium edition<br /> Bochum: European University Press<br /> ISBN 978-3-89966-293-1<br /> 200 pp., 19.90 €<br /> <br /> China is the honorary guest of the Frankfurt Book Fair 2009. The public interest in this literature, which has so far been underrepresented in Germany, is great.<br /> However, there is not much known about the trends in the Chinese contemporary literature except for keywords like &quot;youth literacy&quot;. This symposium edition shows which new publications will be realised for the book fair. Contributions are given by translators to portray the peculiarities of the translation of Chinese literature, as well as literary scholars who give an overview of the Chinese literature scene, by the Chinese author Gao Yi and by connoisseurs of literary business (book fair, publishers, agencies).<br /> One focus is the question, which Chinese literature also 'works' in German translation. The reader is sensitized to questions of the selection. The advantages and disadvantages of the Chinese governmental translation support are equally part of the contributions as commercial aspects, which influence the selection on the part of the German publishers. By the way, prejudices are to be dismantled, for example, that Chinese literature is incomprehensible because of its 'Confucianism', or that Chinese imitation literature is written in the style of the Harry Potter series.<br /> <br /> ==You Yuting 游雨婷==<br /> <br /> The volume provides in extracts an well-founded overview of the Chinese contemporary literature with the bestselling authors Guo Jingming, Han Han and others, and about currents: the trend to the second book, vagabond literature, the author as a pop star (cult literature), Literature of the mega cities, Critical Surreality, Women’s Literature, Scandal Literature, the Nostalgia wave (Reinterpretation of Classics), Teenager Phenomenon, Magical Realism, Master stories and the Literature of the emotional suffering.<br /> <br /> 该书摘录了中国畅销作家郭敬明、韩寒等人对中国当代文学的有理有据的概述，并介绍了当代文学的发展趋势：第二本书走向，流浪文学，作者作为流行歌星(邪教文学)，大城市文学，批判超现实主义，女性文学，丑闻文学，怀旧浪潮(经典重释)，青少年现象，魔幻现实主义，大师故事和文学的情感苦难。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 02:49, 3 October 2020 (UTC)<br /> <br /> 该书的摘录了中国最畅销的作家郭敬明，韩寒等人的中国当代文学以及时事的概论：第二本书的趋势，流浪文学，流行歌星（邪教文学），大城市文学，批判超现实主义，女性文学，丑闻文学，怀旧浪潮（对经典的重新诠释），青少年现象，魔幻现实主义，大师故事和情感苦难文学。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 04:19, 3 October 2020 (UTC)Xiao Ting<br /> <br /> ==Yu Ni 余妮==<br /> Vol. 25<br /> Martin Woesler:<br /> Bochum: European University Press<br /> ISBN 978-3-89966-292-4<br /> 200 pp., 19.90 €<br /> This volume considers the latest Chinese bestseller lists from early 2009.<br /> <br /> Vol. 24<br /> Wolfgang Schulz:<br /> Bochum: European University Press 2009<br /> ISBN 978-3-89966-340-2<br /> 168 pp., 29.90 €<br /> <br /> The present work examines with phenomenological thought tools (Edmund Husserl) the five basic emotions (Wielant Machleidt) presented in the Chinese medicine classic Huang Di Nei Jing and their refraction in the fractal affective logic of Luc Ciompis. In both cultural objects - Huang Di Nei Jing and the affective logic of Luc Ciompis – yield striking coincidences and mutual clarifications between the chaostheoretical insights of the fractal relation of the &quot;feelings&quot; and the important thought concepts in the early Han period of &quot;approaching by corresponding affiliation Gan Lei&quot; and the &quot;personified answering event Gan Ying (Obert) &quot;or - according to J. Needham – the &quot;sympathetic responses between similiar kinds of existence&quot;.<br /> <br /> Vol. 23<br /> Martin Woesler:<br /> Bochum: European University Press 2008<br /> ISBN 978-3-89966-289-4<br /> 200 pp., 19.90 € / 20.50 € [A]<br /> <br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> <br /> The Chinese literature of the present at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young, partly celebrated like pop stars authors from the Middle Kingdom, who drop their books partly in millions of editions, such as Jingming Guo, seem too bizarre. Nevertheless, trends can be discerned that reflect especially the extreme process of social upheaval in China: the female literature created by Ailing Zhang with the insiders view of the Shanghaie big city singles, for example, which has found a whole generation of successors. Or the scandal literature of Shuo Wang, who has long since become an establishment. The nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel of the Three Kingdoms, for example by Dan Yu. Finally, the young, bizarre literature of an alienated city youth, who is in the end searching for the happiness of love between alcohol, drugs and party excesses. Surprising newcomer is the author Han Han, who is known for his critically acclaimed youth literature and who exerts a humorous social criticism in his new work, &quot;Tage des Ruhms&quot;, about a dropout group in the style of Magical Realism. A colorful roundel, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> <br /> Vol. 23<br /> Martin Woesler:<br /> Bochum: European University Press 2008<br /> ISBN 978-3-89966-289-4<br /> 200 pp., 19.90 € / 20.50 € [A]<br /> <br /> The Chinese literature of the present at the beginning of the 21st century appears hardly compatible with the German book market. Many stories of the mostly young, partly celebrated like pop stars authors from the Middle Kingdom, who drop their books partly in millions of editions, such as Jingming Guo, seem too bizarre. Nevertheless, trends can be discerned that reflect especially the extreme process of social upheaval in China: the female literature created by Ailing Zhang with the insiders view of the Shanghaie big city singles, for example, which has found a whole generation of successors. Or the scandal literature of Shuo Wang, who has long since become an establishment. The nostalgia with new interpretations of classics such as Confucius, Menzius, or the novel of the Three Kingdoms, for example by Dan Yu. Finally, the young, bizarre literature of an alienated city youth, who is in the end searching for the happiness of love between alcohol, drugs and party excesses. Surprising newcomer is the author Han Han, who is known for his critically acclaimed youth literature and who exerts a humorous social criticism in his new work, &quot;Tage des Ruhms&quot;, about a dropout group in the style of Magical Realism. A colorful roundel, which tells from another world, no longer as exotic as before, but still strange and fascinating.<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> <br /> Vol. 22<br /> Martin Woesler (ed.)<br /> Bochum: European University Press 2010<br /> ISBN 978-3-89966-280-1<br /> 251 pp., bound, cover with special color gold, 39.00 €<br /> <br /> This festschrift is approaching to the Chinese (law) culture from different angles. It also focuses on current topics such as human rights or relevant philosophers.<br /> <br /> The articles deal among other things with views of Confucius, Menzius and Li Zhi. Ommerborn introduces Li Zhi as an individualist, who pronounces against spiritual authorities and the universal validity of higher principles, contrary to the (neo-Confucian norms of his contemporaries.<br /> <br /> The contribution of Harald Holz deals with cross-cultural foundations, he ascribes the 'golden rule' ultimately to an underlying sense, in which he defines the concept of sense as a broad striving for the appropriation of the own possibilities in interaction with all the others that come in line. Hence results in a recognition of his self and of the other as well as an 'ought', whereby all the other aims of action result as personal reciprocal.<br /> <br /> While Weber-Schäfer draws up the thesis and explains why China does not have an equivalent counterpart to the European concept of justice, Woesler, takes the opposite view in his essay.<br /> Moccia argues that in the classical China tradition and customs were before the law, and the law of Confucius was little appreciated. He wanted to speak of legislation in China only since the nineteenth century and describes the condition of today's society as a transition to a law-based system.<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> <br /> Paul deals with the political dimension of the Menzius reception, especially in terms of the human rights, which are more progressive in Menzius than in Plato and Aristotle. He demonstrates that Menzius was in Western history of reception mainly interpreted as universalistic.<br /> While many of the assembled contributions deal with the actual legislation in China, Sapio's contribution fills a gap in the area of the more difficult gray legal practice: On the basis of diplomatic sources and examples, it proves that the practice of &quot;shuanggui&quot; exists in China, in form of arrest without charge, used by the Communist Party against corrupt officials or members of the party.<br /> <br /> Weyrauch deals in his contribution with the decision-making practice for Chinese asylum applications for Germany. If you are a member of the religious movement &quot;Falun Gong&quot; or a minority, you have resisted against the one-party rule or censorship, or if you have become a victim of the one-child policy it will be decided depending on the degree of persecution.<br /> In China rituals compete with the right: the Chinese adopted Christianity, like before various other religious practices and mixed it with their own popular religious rites and customs. In the so-called &quot;Chinese rites controversy&quot;, two mission camps battled each other, who supported this adaptation or rejected it. Von Collani evaluates in her contribution numerous documents, which are now accessible, of the approximately one hundred years of ritual strife.<br /> <br /> Another area which is not directly connected to the main theme of the law are political guidelines: In his contribution using the example of armaments policy, Aßmann examines an aspect of security policy, here the case of an American missile defense system for Japan and Taiwan. He discusses possible power shifts in the region and warns of a new arms race. Ostendorf draws attention to the shadows of the economic boom in China, the environmental pollution. He draws future scenarios on how this destruction can be managed.<br /> <br /> 保罗（Paul）谈到孟子处世思想的政治意义，特别是在人权方面，孟子的思想比柏拉图和亚里斯多德的思想更为进步。他表示，孟子在西方处世历史中主要为普遍主义所解释。虽然许多研究的对象是是中国的实际立法，但萨皮奥(Sapio)的研究成果填补了法律实践灰色地带的空白，而这一研究是更为困难的领域。研究成果如下：基于外交资料和实例，表明“双归”存在于中国，它是中国共产党以未经起诉而逮捕的形式来查处腐败官员或腐败党员的手段。<br /> <br /> 韦罗克（Weyrauch）致力于为中国人申请德国的政治庇护。根据迫害程度的大小，判断该人是否为宗教运动“法轮功”的成员或者少数民族，抵制过一党统治或一党审查制度；或者是否为计划生育的受害者。在中国，宗教仪式与权力相抗衡。中国人对待基督教的方式与对待过去各种宗教的方式类似，他们将基督教引进国内，并将其与本国的宗教仪式和习俗相结合。在所谓的“中国礼仪之争”当中，两方势力相互对抗，针对基督教华化表明了支持或反对的态度。冯·柯兰霓（Von Collani）在其众多的研究成果中探讨了该历经约一百年的宗教冲突，这些研究资料如今均可获取。<br /> <br /> 除宗教外，另一个与法律主旋律并无直接联系的领域则是政治指导方针。在以军备政策为例的研究中，阿斯曼（Aßmann）研究安全政策的一个方面——美国针对日本和台湾的导弹防御系统，探讨地区可能发生的权力转移，并发出了新一轮军备竞赛出现的警告。奥斯坦多夫（Ostendorf）关注到中国经济繁荣所带来的环境污染问题，并提出解决该问题的未来方案。<br /> --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 02:26, 3 October 2020 (UTC)<br /> <br /> ==Zeng Liang 曾良==<br /> <br /> Vol. 21<br /> Chen, Hui<br /> Bochum: European University Press 2010<br /> ISBN 978-3-89966-277-1<br /> 253 pp., Paperback, 29.90 €<br /> <br /> The terminology translation is a special case of the translation. Despite many parallels to the general translation, there are some differences which cause problems which not only translators in terminology transfer have to cope with, but also the respective expert groups, throughout the terminology work:<br /> <br /> a) The main difference between the two sides is: the text has to be translated as a whole, which offers the technical context in which the individual terms and expressions are embedded, and thus can fuction indicatory for the translation, but existst at the terminology transmission not in the way like it can be found at the general translation. The topic in a terminology transfer is a single subject terminus or a particular set of terms. Therefore the translator first needs to acquire the appropriate expertise, which is then used as a &quot;text&quot; when translating the terms.<br /> <br /> b) The non-presence of a concrete client, which has to be considered as a rule, means that the translator and other experts have to take more responsibility with regard to the quality control.<br /> <br /> c) The involvement of different translators at one and the same terminological &quot;text&quot;, which is rare and, if so, coordinated to a limited extent, as well as a time-delayed transmission of this &quot;text&quot; has a &quot;terminology diversity&quot; as a result, which acts often more confusing than as an useful effect. This means for the terminology work that an additional task, terminology collation, is to be mastered.<br /> It should also be noted that the partial incompatibility of two parallel terminologies makes the terminology transmission more difficult.<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> <br /> Vol. 20<br /> Winfried Woesler, Lü Yuan:<br /> Bochum: European University Press. 2006<br /> ISBN 978-3-89966-228-3<br /> 409 pp., 29.90 €<br /> <br /> Representative selection of 54 Chinese poets with a total of approx. 100 poems mostly from the 1970s and 1980s, selected by recognized Chinese poets of the older generation Lü Yuan. New edition of the 384-pages bi-lingual Reclam anthology, published in 1992, for the first time printed in Chinese writing and thus also readable for students of sinology. Presented is the earliest generation of poets, which are writing in modern language: Ai Qing, Feng Zhi, Xin Di, Su Jinsan and Fang Jing. The second generation, who made a name for themselves in the anti-Japanese resistance war, were Lu Li, Peng Yanjiao, from the poetry circle July Zou Difan and Lü Yuan, from the circle of Nine Leaves Zheng Min and Chen Jingrong. The third generation, that despite the functionalization of literature in the 1950s, persistently focused on poetry only for the sake of poetry, is represented by Shao Yanxiang, Li Ying, Gong Lu, Cai Qijiao and Liu Shahe. The fourth generation is the vanguard of the younger generation with Bei Dao, Shu Ting, Gu Cheng, Jiang He and Fu Tianlin, their initially singled voices have long become representative voices of the people. The fifth generation is represented by Yu Jian, Han Dong, Cao Jian, and Xu Demin. These student poets discover fabrics for their subject matter directly in the everyday life.<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> <br /> Vol. 19<br /> CD<br /> Based on the paper edition of the Akademie-Verlag Berlin 1985. Bochum: European University Press 2006<br /> 1446 pp. DIN A4, with different counting<br /> License for use: 29.90 € (natural persons),<br /> 49 € (institutions, per workplace), delivery on CD only directly from publisher to final customer<br /> ISBN 978-3-89966-207-8<br /> The dictionary is continually updated and extended (cost-effective updates are available every year).<br /> <br /> Approx. 100,000 entries, effective 2006. Restricted is also to look for German terms, so that the dictionary can be used bidirectionally in contrast to the paper edition.<br /> A syllabary has been added to the present digital form for a faster search for the desired syllable from which one can see where the syllable begins, as a page number, which can be entered directly into a search field any time. In addition, you can also open the page by scrolling.<br /> <br /> If the pronunciation of a Chinese character is not known, you must search in the character index as in the book form, and search the current character number next to the character you are looking for by scrolling the pages in the dictionary text to the top left or right. To speed up the search process, two syllabaries were added to, a tone syllabary (page I) and one for character numbers (page II). Edited by Gunnar Richter. Authors of the paper edition: Helga Beutel, Horst-Dieter Gasde, Anja Gleboff, Ilse Karl, Gunnar Richter, Christiane Schwarz, Gottfried Spies, Eberhard Treppt, Horst-Dieter Gasde (administration), edited by Horst-Dieter Gasde, Ilse Karl, Christiane Schwarz; Gunnar Richter, Gottfried Spies.<br /> <br /> <br /> 卷 19<br /> 光盘<br /> 基于1985年柏林的Akademie-Verlag纸质版。波鸿：欧洲大学出版社，2006年<br /> 1446页DIN A4，具有不同的计数<br /> 使用许可：29.90€（自然人），<br /> 49€（根据机构，每个工作场所），仅以CD形式直接从发行商交付给最终客户<br /> 书号978-3-89966-207-8<br /> 该词典会不断更新和扩展（每年都会提供具有成本效益的更新）。<br /> <br /> 大约 100,000个条目，从2006年开始生效。此外，还必须查找德语术语，以便该词典与纸质版相比可以双向使用。<br /> 音节已添加到当前的数字形式中，以便更快地搜索所需的音节，从中可以看到该音节从何处开始，作为页码，可以随时将其直接输入到搜索字段中。 此外，您还可以通过滚动打开页面。<br /> <br /> 如果不知道中文字符的发音，则必须像在书本上那样在字符索引中进行搜索，并通过滚动字典上的页面，在左上角或右上角的搜索框中搜索所需字符旁边的当前字符。 为了加快搜索过程，添加了两个音节，一个音调音节（第一页）和一个用于字符编号的音节（第二页）。 由Gunnar Richter编辑。 论文版本的作者：Helga Beutel，Horst-Dieter Gasde，Anja Gleboff，Ilse Karl，Gunnar Richter，Christiane Schwarz，Gottfried Spies，Eberhard Treppt，Horst-Dieter Gasde（管理），由Horst-Dieter Gasde, Ilse Karl, Christiane Schwarz; Gunnar Richter, Gottfried Spies编辑。 --[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:53, 2 October 2020 (UTC)<br /> <br /> ==Zhang Hu 张虎==<br /> <br /> Vol. 18<br /> Thilo Diefenbach<br /> Bochum: European University Press 2005<br /> 190 pp., &lt;Ger., Chin.&gt;<br /> ISBN 978-3-89966-169-9 (3-89966-169-9), 19 €<br /> <br /> The Chinese authors Liu Jiming (born in 1963), Zhang Wei (born in 1956) and Liu Qingbang (born 1951), who have been valued in their homeland for years by the readership and literary criticism, are largely unknown to us; translations of their works into German have not yet been available.<br /> <br /> This book presents the three authors in detail, and then gives them the opportunity to speak for themselves in selected short stories and essays. Hence Thilo Diefenbach gives an insight into their narrative complete work and in a hitherto little-studied section of China's contemporary literature. Just in a time when the international perception of the country is limited to the observation of the events in the cities and the Chinese literature largely concentrates on the city life, Diefenbach would like to remind that the still strongly agrarian coined China has also a literature that focuses on the everyday life in the countryside.<br /> <br /> Thilo Diefenbach was promoted in 2003 at the University of Cologne with a dissertation on the subject contexts of violence in modern Chinese literature. From 2004 to 2005 he worked as a scholarship holder of the Fritz Thyssen Foundation on a research project whose results this book contains. Since February 2006, he has been conducting a study on the literature of the Northern Dynasties (386-581) as a scholarship holder of the DAAD at the Chinese Academy of Social Sciences in Beijing.<br /> <br /> ==Zhang Hui 张慧==<br /> <br /> Vol. 17<br /> Cordula Hunold<br /> 2006, Paperback, 145 pp., 1 audio CD 15 min.<br /> ISBN 978-3-86515-031-8 (3-86515-031-4)<br /> 13,90 €<br /> <br /> Study in the field of contrasting phonology / phonetics of German and Chinese, which deals with similarities and differences in the segmental and suprasegmental range. It deals with the specific articulation and intonation problems of German Chinese learners and gives hints and practice suggestions for Chinese teachers, who want to improve and make their ChaF instruction more versatile, and those who are interested in the phonetics / phonology of the modern Chinese or even wanr to improve their pronunciation.<br /> <br /> Bd 16<br /> Stefan Messmann<br /> Bochum: European University Press 2005<br /> Paperback, 167 pp.<br /> ISBN 978-3-86515-038-7 (3-86515-038-1)<br /> 19,90 €<br /> <br /> The foot binding probably began in the early tenth century, spreading from the north to the south over the next centuries, whereby it was less practiced in the south. It was forbidden several times over the history, recently in 1949, but still today in some places one can see old women with bandaged feet.<br /> <br /> There are different theories about their cause. Most of them try to explain foot binding with 1. status symbol, 2. the necessity to keep the women chaste, 3. ideal of beauty, 4. sexuality, 5. fetish, 6. fashion, 7. demarcation to other peoples and 8. combat of enemies. Of these explanations, the domination of the men seems most plausible.<br /> <br /> ==Zhang Ling 张玲==<br /> <br /> Vol. 15<br /> Hartmut Walravens<br /> Bochum: European University Press 2005<br /> Paperback, 271 pp.<br /> ISBN 978-3-86515-027-1 (3-86515-027-6)<br /> 29,90 €<br /> <br /> The volume offers a wealth of bibliographic evidence, through which important materials can initially be developed, which are not contained in the existing specialist bibliographies. The foreign countries, one of the important &quot;Cottaschen Journals&quot;, and the magazine for the literature of foreign countries provide numerous solid contributions about East Asia for the 19th century: travel reports, political and military representations, translations from Chinese and Japanese literature Unknown. The same applies to the short-lived magazines Spirit of the East and Ho Ping Pao, the latter a news sheet of the Chinese delegation in Berlin after the Second World War. Chinese medicine is particularly popular today, but the medical texts were collected only very little. A register opens up the medical treasures of the Paris National Library. The complete translations of the poetic works of the two Tang poets Tu Fu and Han Yü, published by the excellent specialist Erwin von Zach, were made accessible by new editions by the Harvard University. Index and register allow quick access to masterpieces of Chinese poetry.<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> <br /> Vol. 14 (3 books)<br /> Tsau Hsuä-tjin, Gau Ë<br /> <br /> Edited and with an introduction by Martin Woesler, with an afterword by Hartmut Walravens<br /> Bochum: European University Press 2006-2007, 3 volumes, ISBN 978-3-86515-010-3 (3-86515-010-1), € 59 per part, Vol. I Tsau Hsüä-tjin, translated by Rainer Schwarz 2006 978-3-86515-011-0 (3-86515-011-X), Vol. II Tsau Hsüä-tjin, supra. Rainer Schwarz, 2006 978-3-86515-012-7 (3-86515-012-8 ), Vol. III Tsau Hsüä-tjin, Gau Ë, trans. Martin Woesler 2007 978-3-86515-013-4 (3-86515-013-6)<br /> <br /> The most famous Chinese novel for the first time in complete German translation.<br /> <br /> To part 1<br /> The goddess Nüwa does not use the 36501. stone anymore for the repair of the sky roof. This feeds a flower with dew drops. Finally, the stone is reborn as the protagonist Djia Bau-yu to whom the dew must be repaid in form of tears. The novel tells about the growing-up of Bau-yüs with his cousins in the ‘Garden of the Great Perspective’ against the backdrop of the rise and fall of the administrator family Djia in the time of the last emperors of the Ming Dynasty. However the autobiographical background is the first emperor of the Manchurian Tjing Dynasty (1644-1911).<br /> Bau-yü spends carefree children's and youth days with his cousins.<br /> In the first part of the novel, a triangular relationship develops between the talented, androgynous Djia Bau-yu, the gritty and pragmatic Hsuä Bau-chai and the desperate for love intelligent but sickly Lin Dai-yi.<br /> <br /> ==Zhang Qi 张琪==<br /> <br /> To part 2<br /> Bau-yü, talented son of the influential large family Djia, grows up together with his cousins almost carefree in the paradise-like 'Garden of the Great Perspective'. In the second part of the novel he experiences the degeneration and the moral decay of his family, the political and financial descent. The ideal world of childhood threatens to break at the transition to adolescent.<br /> Signs of imminent disaster cast a pall on the love of the androgynous Djia Bau-yü to his devoted but sickly, still-suffering and resigned cousin Lin Dai-yi.<br /> Has their love a future in a time of arranged marriages and against the backdrop of the family's decline?<br /> <br /> To part 3<br /> Gradually, the twelve girls of the Garden of the Great Perspective marry and move away. Also Djia Bau-yü believes to marry his cousin Lin Dai-yü. But when the veil is aroused, it is Hsii Bau-tschai. Lin Dai-yü dies of grief at the same time.<br /> The garden orphans. The jade stone is lost. The family falls into disgrace with the Emperor, the titles are withdrawn. The property is being robbed and plundered. Some family members are arrested and exiled. The Duchess-mother dies. The decline of the extended family Djia seems to be sealed.<br /> <br /> Only after Djia Bau-yü understands his predestined destiny and decides to live as a Buddhist monk, the tide is turning: Djia Bau-yü passes the state examinations together with his cousin Djia Lan. Titles, reputation, and goods are restored. The Djia family is looking forward to a happy future with Djia Lan and Bau-yüs son Djia Guee.<br /> But where is Bau-yü?<br /> <br /> ==Zhang Weihong 张维虹==<br /> <br /> Vol. 13<br /> Martin Woesler<br /> Bochum: European University Press 2003, x, 242 pp., ISBN 978-3-89966-004-3 (3-89966-004-8)<br /> 14,90 €<br /> <br /> Documentation of an exemplary discussion of politics and literature in the People's Republic of China. From September 1991 to January 1992, this debate caught the attention of the Chinese public and also made international headlines. Throughout the period, the author has been able to follow the local discussions in Beijing.<br /> The dispute proceeds like a bad crime: The resignation of the Minister of Culture Wang Meng on September 4, 1989, is linked to the story of &quot; Zäher Brei &quot; from the time of the democratic movement. The narrative, a political grotesque, is then awarded by a liberal literature magazine. There is a storm of indignation among the orthodox Marxists, which vents it’s spleen in two press articles. Apparently one would like to tackle the liberal literature of the 1980s at all. The former Minister of Culture fears a new political hate campaign and - a novelty in the history of the People's Republic of China –strains a lawsuit against authors and backers. This is followed by a paper- warfare, which course is followed eagerly by the Chinese intellectuals.<br /> <br /> This dispute illustrates the tug-of-war between the reformers and reformist opponents among Chinese politicians and intellectuals in the consolidation phase after 4 June 1989. In their pleading, the debates are not confessing themselves without a wink as a supporter or opponent of the mash.<br /> <br /> This volume contains the most important documents of the 'slugfest' in German translation. According to the narrative (p. 4 ff.), the chronology (pp. 55 ff.) Provides a first overview of the debate, which is documented in the following 17 texts. The background is provided by a biography of Wang Meng (p. 161 ff.), explanations of the tense relationship between politics and literature (p. 184 ff.), and a commentary essay (p 204 ff.) References, an overview of the reception, further bibliography and a sign glossary form the appendix.<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> <br /> Bd 12<br /> Martin Woesler, Junhua Zhang eds.<br /> China's digital dream<br /> The impact of the Internet on Chinese society<br /> Bochum: European University Press ²2003, 332 pp.<br /> ISBN 978-3-86515-190-2 (3-86515-190-6)<br /> (1st ed. 2002: ISBN 978-3-934453-90-6 (3-934453-90-2), 274 pp.)<br /> 39.00 €<br /> <br /> A dream is a vision undoubtedly, part of the vision has already become reality.<br /> Through the endeavours made by China´s political elite in the past two decades. But what exactly does that vision look like, what is the reality of China´s Internet and to what extent has this modern medium influenced and how will it continue to influence the life of people in china? In Order to find out answers to these questions, we aked scholars from China, Hong Kong, the USA, and Europe engaged in the study of Chinese internet and politics to offer<br /> their thoughts and to present the results of their research. This book is intended to be an arena of discourse between scholars approaching the study of China from different perspectives and hopefully will help readers to gain an insight into China´s modernization strategy and ist praxis.<br /> <br /> ==Zhang Yinliu 张银柳==<br /> <br /> CONTENTS<br /> Part I Proactive and Reactive Stances towards the Internet —Internet in China and Southeast Asia<br /> 1. The Internet and Civil Society in China and Southeast Asia. Sh.Kalathil, pp. 31-46<br /> 2. Telecom Taxonomy: How are the One Party States of East Asia Controlling the Political Impact of the Internet? Nina Hachigian, pp. 47-80<br /> <br /> Part II Social and Economical Impacts<br /> 3. Digital Divide and E-Learning – Chances and Problems in China’s Approach. Junhua Zhang, pp. 81-108<br /> 4. The Reality and Potential of Online Trading in China. Haifeng Huang / Ren Ma / Lin Jian / John Liang, pp. 109-120<br /> 5. Internet Use in China–A Comparative Analysis. Guo Liang/Bu Wei, pp. 121-144<br /> <br /> Part III Globalization and the Clash of Civilizations<br /> 6. Accession to the WTO and the Development of China’s Digital Media. Xupei Sun, pp. 145-164<br /> 7. The Internet Transforms China into an &quot;Open Society&quot;. M. Woesler, pp. 165-187<br /> <br /> Part IV Nation-Building and Information Warfare<br /> 8. Assessing China´s Efforts in Constructing an e-government. Peter Lovelock / John Ure, pp. 187-211<br /> 9. Is the &quot;wolf&quot; coming? - An empirical study on cultural in-formation spread on Chinese websites. Peng Lan, 212-230<br /> 10. Technology, Markets and Nation-Building in Chinese Cyberspace. Christopher R. Hughes, pp. 231-246.<br /> 11. Between Rhetoric and Reality – A Critical Examination of the Theories and Praxis of Information Warfare in China in the Light of Post-Iraq War 2003. Junhua Zhang, pp. 247-270.<br /> <br /> Part V Governance and Information Policy<br /> 12. Development of E-government in China – Present Status, Problems, and Future. Xinjiao Tan, pp. 271-294.<br /> 13. Internet Censorship Focus: 'Human Rights not found' in the Chinese Web. Martin Woesler, pp. 295-325<br /> Index etc.<br /> <br /> ==Zhang Yu 张瑜==<br /> <br /> CONTRIBUTORS<br /> Wei Bu, Chinese Academy of Social Sciences, Beijing, China<br /> Liang Guo, Chinese Academy of Social Sciences, Beijing, China<br /> Nina Hachigian, Director, RAND Center for Asia Pacific Policy, USA<br /> Kai Haifeng Huang, Vice President, Association of Chinese Finance Professionals, San Francisco, USA<br /> Christopher R. Hughes, Director, Asia Research Centre, Senior Lecturer, International Relations, London School of Economics, United Kingdom<br /> Lin Jian, Vice President, Shenzhen Prosperity Systems Co. Ltd., Shenzhen, China<br /> Shanthi Kalathil, Project on the Information Revolution and World Politics, Carnegie Endowment for International Peace in Washington, D.C., USA<br /> Lan Peng, Associate Professor, School of Journalism of Renmin University, Beijing, China<br /> John Liang, President, Global Vision Consulting Company in Santa Clara, USA<br /> Peter Lovelock, Deputy Director, Telecommunications Research Project, University of Hong Kong, China<br /> Ren Ma, Senior Consultant, Beijing Yingce Investment Consulting Company, Beijing, China<br /> Xupei Sun, Professor, Huazhong University of Science and Technology, China<br /> Xinjiao Tan, College of Foreign Languages, Renmin University of China, Beijing, China<br /> John Ure, Director, Telecommunications Research Project, University of Hong Kong, China<br /> Martin Woesler, Lecturer, EALC, Gutenberg University Mainz, Germersheim, Germany<br /> Junhua Zhang, Research Associate, Center for Chinese and East Asian Politics, Free University Berlin, Germany<br /> <br /> ==Zhang Yujie 张毓婕==<br /> <br /> Bd 10<br /> Bochum: European University Press 2003<br /> 109 pp., ISBN 978-3-932329-08-1 (3-932329-08-2)<br /> 9,95 €<br /> The present collection includes contributions to the theoretical involvement with language learning software and test reports, which are intended as decision aids for pupils and teachers.<br /> Introduction to the extended new edition. P. 2, observations on the learning of languages with the computer p. 3-7, background of evaluation patterns for electronic media p. 7, thinking impulses and classification of selected literature p. 8-11, The test criteria catalog of the State Institute for School and Continuing Education S (Biaozhun Hanyu jiaocheng) p. 25-33, Biaozhun Hanyu jiaocheng - Critical Experience Report (Cornelia Menzel) p. 34, Examination of two Chinese Learning Tutors (Katharina Kehrer), pp. 35-55, Chinese Assistant 2.10 pp. 56-57, Chinese Character Tutor p. 58-59, Interactive Chinese, Professional Version p. 60-64, Interactive Chinese, Version ABC p , Language Learning Chinese p. 66, Mao's Alphabet p. 67, Wenlin 1.0 p. 69-70, Wenlin 3.1 p. 71, Dewenlin (German version of Wenlin) p. 72-74, Further Chinese Learning Programs p -Learning Chinese p. 77, Web info for Chinese -Lehrer p. 81, German as a Foreign Language: Language Course German 1-2-3 pp. 84-85, Lina and Leo p. 86-90, Japanese: Krea Kanji p. 91-95, Spanish: Interactive Language Teacher Spanish (Anja Rossig , Pp. 96-99, English: Encarta (Andreas Schnieber) pp. 100-102, Interaktive Sprachentrainer English (Sebastian Schröer) pp. 103-106, French: tmx French (Sylwia Wyszynski) p. 109-110, The author p. 111, Bibliography p. 112, List of electronic media p. 114-115, List of illustrations p. 116-117, selection index p. 118.<br /> <br /> ==Zhang Yuxing 张宇星==<br /> <br /> Vol. 9<br /> Martin Woesler<br /> Bochum: European University Press 2003<br /> 181 pp., ISBN 978-3-932329-15-9 (3-932329-15-5)<br /> 24,50 €<br /> <br /> This book is an understandable guide on how to use Chinese under Windows 95, 98, ME, 2000, XP without additional programs.<br /> A reference book on 100 errors, which have occurred in Chinese under Windows across Europe with understandable solutions.<br /> A documentation of the first beginnings of Chinese on the computer until the Unicode.<br /> A practical guide for Internet, e-mail and text processing with Chinese.<br /> <br /> Vol. 8<br /> [Chinese / German]<br /> Karl-Heinz Pohl (ed.)<br /> Bochum: European University Press ²2003<br /> 215 pp., ISBN 978-3-934453-30-2 (3-934453-30-9)<br /> 19.90 €<br /> <br /> To break his back for five bushels of rice a day, he was himself to pity and quit the public service. In the country he has moved, has cultivated fields and gardens and praised what he loved: chrysanthemums and pines, even children, country people, old people, drinking with friends, silence, seclusion. He understood how to praise as to lament, to think about the vicissitudes of life, and to play down his own hardships with a dash of self-irony: hardly anything tormented him, like the idea that the wine might go out.<br /> He lived 1500 years ago and his poems are as of today. The Chinese regard Tao Yuanming as the greatest poet between Han and Tang time; countless painters are inspired by him.<br /> <br /> Vol. 7<br /> Gregor Paul, Martin Woesler (eds.)<br /> Bochum: European University Press²2003<br /> Ii, 198 pp, ISBN 978-3-932329-13-5 (3-932329-13-9)<br /> 15.34 €<br /> <br /> ==Zhao Xi 赵茜==<br /> <br /> Bd 6<br /> Martin Woesler, ed.<br /> The Modern Chinese Literary Essay - Defining the Chinese Self in the 20th Century - Conference Volume, Bochum: European University Press ²2003, 327 pp., ISBN 978-3-934453-15-9 (3-934453-15-5)<br /> 35.79 €<br /> <br /> Contents<br /> <br /> Introduction<br /> The Freedom of Intellectual Exchange pp. 13-14<br /> Preface: The Flourishing of the Chinese Essay pp. 15-16<br /> <br /> Keynote: “Let us Assign the Essay its Proper Place in Chinese Literature” pp. 17-28<br /> Martin Woesler, University of Mainz, Germany<br /> <br /> The Emergence of the Modern Chinese Essay: Precursors and Influences of a Major Literary Form - The Aesthetic of Marginalism and the Impact of the West on the Chinese Essay pp. 29-42<br /> Martin Woesler, University of Mainz, Germany<br /> <br /> The Modern Essay and Urban Culture in The Republican Period<br /> Formation of Modern Subjectivity and Essay: Zhou Shoujuan’s “In the Nine-Flower Curtain” pp. 43-68<br /> Jianhua Chen, Harvard University, Cambridge, USA<br /> Eileen Chang and the Modern Essay pp. 69-100<br /> Nicole Huang, University of Wisconsin, Madison, USA<br /> <br /> Perspectives on Ideology in the Essay<br /> Zhu Ziqing, Frantz Fanon, and the Fierce White Children pp. 101-116<br /> Daniel A. Fried, Harvard University, Cambridge, USA<br /> Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture pp. 117-134<br /> Charles A. Laughlin, Yale University, New Haven, USA<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> <br /> The Author's Self in Essays of Place and in Qian Zhongshu's Criticism<br /> A Reading of Traditional Gestures in Modern Chinese Essays of Place pp. 135-148<br /> Alexandra R. Wagner, Yale University, New Haven, USA<br /> Qian Zhongshu's Essays pp. 149-176<br /> Hong Yu, University of Münster, Germany<br /> Cultural Polemics in Contemporary China<br /> From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature pp. 177-192<br /> Ban Wang, State University of New York at Stony Brook, New York, USA<br /> Mulish Essays: the Genre of Zawen in Contemporary China pp. 193-214<br /> Mary Scoggin, Humboldt State University, Arcata, USA<br /> Nostalgia without Memory: Reading Zhang Wei's Essays pp. 215-230<br /> Jie Lu, University of the Pacific, Stockton, USA<br /> Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's “Religious Sublime” pp. 231-240<br /> Xinmin Liu, Wesleyan University, Middletown, USA <br /> Discussion of this chapter: The xiaopin wen between xianshi sanwen and zawen pp. 241-246<br /> King-Fai Tam, Trinity College, Hartford, USA<br /> <br /> Regional Perspectives: Taiwan and Hong Kong<br /> The Changing Character of the Essay Subgenres pp. 247-290<br /> Ming-Lee Cheng, Taiwan Normal University, Taipei, Taiwan<br /> The Short Miscellaneous Essay with Hong Kong Characteristics pp. 291-310<br /> Wai Leung Wong, Chinese University of Hong Kong, China<br /> Overview of the Contemporary Essay<br /> Martin Woesler, University of Mainz, Germany<br /> The 20th Century Chinese Essay - Characteristics, Actors, and Trends pp. 311-328<br /> A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing pp. 329-340<br /> Modern Chinese Literature and the Essay Genre: A New Perspective pp. 341-360<br /> Contributors pp. 361-372<br /> Index pp. 373-<br /> <br /> ==Zheng Huajun 郑华君==<br /> <br /> vol. 5<br /> Martin Woesler, ed.<br /> The Chinese Essay in The 20th Century<br /> Bochum: European University Press ²2003<br /> 496 (xlii, 205, 229) pp.<br /> ISBN 978-3-934453-14-2 (3-934453-14-7)<br /> €/US$ 25.00<br /> <br /> Essay-writing is an acknowledged hallmark of Chinese writers and intellectuals, past and present. The personal essay, in particular, has been widely popular ever since the Ming Dynasty and was a major genre of modern Chinese literature. The more public essay-form <br /> called zawen (miscellaneous essay), the invention of which is attributed to Lu Xun, has been used by at least two generations of modern Chinese intellectuals as a powerful weapon of social and political criticism, often from a dissident angle. All of these are well known in China but seldom studied in the West.<br /> It is time, therefore, that we welcome the publication of a volume of 20th century Chinese essays carefully selected and edited by Martin Woesler. Dr. Woesler has been a most conscientious young scholar from Germany who embarked upon such an endeavor with a singular devotion, especially in view of the fact that his mother tongue is not English. His exemplary zeal must have been contagious, for he was able to gather a like-minded group of translators who all contributed their time and energy to this magnificent volume. As his official sponsor for a year's research visit at Harvard, I am honored to be asked to write this perfunctory preface, a small task I do with pleasure for both scholarly and personal reasons. (Though no expert in this genre I am currently practicing essay-writing myself by contributing to a weekly column in Chinese for a Hong Kong newspaper.)<br /> Readers of this volume can readily discover that a most welcome feature is its comprehensiveness: samples from both the modern and contemporary periods are represented. Although ample coverage is given to writers from the Mainland, the celebrated poet and essayist from Taiwan, Yu Kwang-chung, is also included. Needless to add, this selection is chosen from a much larger collection of essays from Woesler's massive research data bank stored in his personal computer. I am sure he will welcome scholars who wish to gain access. I am delighted that after many years of hard work his labor is finally bearing fruit, and I invite all interested readers to sample its variegated taste.<br /> Leo Ou-fan Lee, July 14, 1999<br /> <br /> ==Zhou Luoping 周罗平==<br /> <br /> Bd 4<br /> Manuel Fries<br /> China and Cyberspace. <br /> The Development of the Chinese National Information Infrastructure<br /> Bochum: European University Press ²2003<br /> 220 pp., ISBN 978-3-934453-13-5 (3-934453-13-9)<br /> 25.00 €<br /> <br /> &quot;As a China consultant and academic whose interest in China goes as far back as 1952, I was delighted to be asked to write an introduction to &quot;China and Cyberspace&quot;, a detailed and very up-to-date report on the development of the Chinese national information infrastructure, succinctly presented in this book by Manuel Fries.<br /> I had the pleasure of first meeting Manuel Fries in Beijing, where he undertook research for this book. Mr. Fries, who speaks fluent Chinese, mingled with ease with Chinese bureaucrats and private entre-preneurs in order to obtain the information for this publication. No doubt, this skill comes from both his training and his extensive research experience. This ideal combination allowed him to compile the vital background information on China's current communications industry, which is at the centre of this book.<br /> Much of the detailed information contained in this volume is not readily available in any form and therefore fills a vital gap as a reference tool for anybody who seeks vital information about China in Cyberspace. The appended bibliography is also of vital use for this purpose.<br /> I am delighted to be able to recommend this publication to all readers who have an interest in contem-porary China and its rapid progress in information technology.&quot;<br /> Dr. Wolfgang Frick<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> <br /> Vol. 3<br /> Martin Woesler (ed., transl.)<br /> &lt;Chin., Ger.&gt;<br /> Bochum: European University Press ²2003<br /> 300 pp., ISBN 978-3-932329-05-0 (3-932329-05-8)<br /> 15,29 €<br /> <br /> Bilingual edition with the most famous Chinese essays of the 20th century.<br /> In 1917 the Chinese essay experienced under a strong Western influence its rebirth in baihua, the written common speech. The 1920s and 1930s saw a May of essay writing: in newspapers and magazines these short contributions were a modern medium of the enlightenment in China. Since 1927, the essay was increasingly politicized as a propaganda tool. The conflict between the free (Zhou Zuoren) and the politically committed essay (Lu Xun) was decided by the latter. In the 1990s, the essays of the republics, with the exception of the ideologically affirmative texts, are widely more received than those of the present.<br /> <br /> Vol. 2 (3 subvolumes)<br /> Martin Woesler<br /> Bochum: European University Press ²2003, xiii, 900 pp., 978-3-932329-04-3 (3-932329-04-X)<br /> € 46.00<br /> <br /> The three volumes are divided into the period 1911-1949, 1949-2000 and bibliography. To subvolume 2:<br /> In the 1980s and 1990s, the Chinese essay experienced its second flowering phase after the Republic era. Anthologies, book series, periodicals and conferences are devoted to the essay. The fast-moving nature of society requires short, diverting texts. The individual consciousness is strengthened and the essay is the most immediate form of subjective expression. Also the interest in the discussion of socio-political issues increases. The young generation of the essayists, that are born after 1949, seems to write free from ideological influence for the first time. However, short-term political topics take up less space than in the 1920s and 1930s. The essay is consciously perceived as a genre again: In the 1980s the essay scholarship began in Taiwan, some years later in the People's Republic of China.<br /> <br /> ==Zhou Shuyao 周书尧==<br /> <br /> Vol. 1<br /> Gunnar Richter<br /> <br /> Bochum: European University Press,<br /> 104 pp., ISBN 978-3-932329-02-9 (3-932329-02-3)<br /> 13,90 €<br /> NEW: TRADITIONAL CHINESE VERSION ISBN 978-3-932329-45-6 (3-932329-45-7)<br /> <br /> This grammar of the Chinese is aimed at students of the Chinese language (beginner and advanced) and is designed as a summary for teaching purposes. It is based on the tried and widespread textbook 'Praktisches Chinesisch', but is enriched by examples from other sources. All examples are marked with Pinyin transcription. Different habits in the use of grammatical terms in German and Chinese are taken into account. This book is also intended as a reference book for grammatically interested sinologists.<br /> <br /> Zhang Yushu, Winfried Woesler, Horst Thomé (Hgg.)<br /> Bo¬chum: Multi¬Lin¬gua (from Vol. 4 Königshausen &amp; Neumann), ISSN 1616-4016, yearly, Vol. 7 2006, Vol. 6 2005, Vol. 5 2004, Vol. 4 2003, Vol. 3 2002, Vol. 2 2001.8, Vol. 1 2000.8, 311 pages, ISBN 978-3-932329-12-8 (3-932329-12-0): 15,29 € (Vol. 1, 2) 49,50 € (from Vol. 3)<br /> <br /> GERMAN CHINA ASSOCIATION<br /> Bulletin of the German China Association<br /> since 1957, ISSN 1436-8048, 18 €<br /> <br /> ==Zhou Siqing 周思庆==<br /> <br /> 1/2007<br /> German China Association (eds.)<br /> From Chinese novels, the Chinese literature in the sign of the &quot;boom&quot;: Liu Jiming, Zhang Wei, Liu Qingbang and their response to the big city literature, Teodorico Pedrini, an Italian court musician in the palace of the emperor Kangxis, the awarding of the Orient-und-Okzident Prize to Ieoh Ming Pei, Josefine Huppertz's studies on Chinese seafaring and the question to what is different in China and why<br /> Issue 50 2007<br /> 1. ed. 30.06.2007, Paperback<br /> 92 pp.<br /> ISBN 978-3-932329-54-8<br /> 36,00 Eur [Ger]<br /> <br /> 1/2006<br /> Issue 49 2006/1<br /> 1. ed. 30.06.2006, Paperback<br /> 118 pp.<br /> ISBN 978-3-932329-48-7 (3-932329-48-1)<br /> 36,00 Eur [Ger]<br /> <br /> 2/2005<br /> German China Association (eds.)<br /> Issue 48 2005/2<br /> 1. ed. 23.12.2005, Paperback, 82 pp.<br /> ISBN 978-3-932329-46-3 (3-932329-46-5)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 1/2005<br /> German China Association (eds.)<br /> Year 48 2005/1<br /> 1. ed. 1.7.2005, Paperback, 82 pp.<br /> ISBN 978-3-932329-44-9 (3-932329-44-9)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 2/2004<br /> German China Association (eds.)<br /> Bulletin of the German China Association <br /> Issue 47 2004/2<br /> 1. ed. 23.12.2004<br /> Paperback<br /> 100 pp, ISBN 978-3-932329-42-5 (3-932329-42-2)<br /> 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> 1/2004<br /> German China Association (eds.)<br /> Issue 47 2004/1<br /> 1. ed. 30.06.2004<br /> Paperback<br /> 98 pp.<br /> ISBN 978-3-932329-40-1 (3-932329-40-6)<br /> 18,00 Eur[Ger] / 18,60 Eur[At] <br /> <br /> 2/2003<br /> German China Association (eds.)<br /> Issue 46 2003/2<br /> Paperback, ed. 15.12.2003<br /> 90 pp.<br /> ISBN 978-3-932329-39-5 (3-932329-39-2), 18,00 Eur [Ger] / 18,60 Eur [At]<br /> 1/2003<br /> German China Association (eds.)<br /> <br /> Issue 46. 2003/1, 1. ed. 2003, Paperback<br /> 80 pp., numerous black and white Picture(s)<br /> ISBN 978-3-932329-38-8 (3-932329-38-4), 18,00 Eur [Ger] / 18,60 Eur [At]<br /> <br /> Still available older issues: Vol 3 / 1998.12, 66 pp, 1999.5, 116 pp, 1999.12, 66 pp, 2000.5, 78 pp, 2001, 96 pp, 2001.12, 38 pp, 2002.7, 2002.12<br /> <br /> [English / German / Chinese]<br /> European University Press, ISBN 978-3-89966-012-8 (3-89966-012-9), about 80 pages, more than 100 color photos, 29,90 €<br /> <br /> ==Zhou Yiwen 周艺文==<br /> <br /> Chinese-Western cultural comparison<br /> Series: Inter Culturas<br /> ISSN 1613-6195<br /> Published by Hans-Peter Schütt, Ute Gahlings, Guido Rappe<br /> <br /> Interculturas means &quot;between the cultures&quot; and refers not only to the cultural diversity within the European present and the past, but also to the plurality that transcends space and time, in which Europe itself is always one of many cultures. Accordingly, Inter Culturas is an interdisciplinary series for studies on Europe, its culture and its history of ideas, in which not only intracultural but also intercultural work will appear.<br /> <br /> The following priorities are envisaged:<br /> - History of European Philosophy and Literature<br /> - gender research and European feminism<br /> - Europe in cultural comparison<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> <br /> Vol. I-IV Guido Rappe: ISBN 978-3-86515-001-1 (3-86515-001-2 ), 4 volumes, approx. 3500 pp., Berlin et.al .: European University Press 2003-2008, with the purchase of the total work 285 euro; 1. volume 1040 pp., ISBN 978-3-86515-002-8 (3-86515-002-0)<br /> 59,00 €<br /> <br /> The four-volume &quot; Interkulturelle Ethik &quot; attempts to acquire transcultural commonalities, which can serve to improve the philosophical understanding between people, using the example of the ancient cultural comparison between Europe and China. From a modern philosophic perspective follwing intensive examination with both the classical texts of the moral theories and the practice of ethical techniques is intended to illustrate the strengths and weaknesses of the different directions in order to promote a mutual learning process. In this way, a conceptual foundation of moral-philosophical thought is aimed at, which is no longer based on the dominance of European thought, but exposes the view to an ethics of the equated, peaceful coexistence of human beings<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> <br /> Vol. I<br /> Guido Rappe<br /> xxv, 1002 pp., 2004<br /> ISBN 978-3-86515-002-8 (3-86515-002-0)<br /> 59 €<br /> <br /> In today's era of the coalescence of cultures, the question of cross-cultural ethics is of crucial importance. In view of the ever-repeated assertion that these great differences between European and outer-European thinking stand in the way, a critical review of such theses is made and proved that these are usually unauthorized. By following certain dominant European perspectives from ancient times to modern era, the volume exposes the ethnocentric aspects of the tradition of postconventional approaches. On the other hand, there are intensified similarities in time and space that are not sufficiently taken into account by many modern cultural-relativistic approaches. The volume tries to initiate a new intercultural dialogue on ethics by breaking down prejudices on both sides.<br /> <br /> <br /> ==Zhu Meimei 祝美梅==<br /> <br /> Vol. II, Part I<br /> Ethical Anthropology I.<br /> The body as the foundation of ethics,<br /> ISBN 978-3-86515-003-5 (3-86515-003-9), 1. Tlbd. 2005 € 59<br /> 2 Tlbd. Together 118 €<br /> <br /> In contrast to the dominant scientific concepts of human beings, which have especially gained a stronger public impact through recent research on brain physiology, but also in a critical delimitation towards mental metaphysical ideas, which have determined the ethical discussion of the European tradition for 2500 years, this volume deals with the elaboration of fundamentals of an anthropology that is based on ethical phenomena and the moral quality of man. These are understood as a specific way of human existence, whose roots reach deep into the life of the body. Between the neuronal fire on the one hand and the 'spirit' of the 'soul' or the 'consciousness' on the other side, a critical consideration is to be found in empirical phenomena, with the concept of the body, its vitality, its mnemonic potency and its ability to communicate an orientated terminological foundation, on which both the further personal ethics with the founded moral emotions on it as well as an intercultural comparing of ancient ethics concepts can build up.<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> <br /> Vol. II, Part. 2<br /> ISBN 978-3-86515-003-5 (2) (ISBN-10 3865150039), 2 parts 2006 59 €<br /> 2 parts together 118 €<br /> <br /> A modern ethics needs a conceptual foundation which adequately takes the emotional and intellectual aspects of man into consideration. This is offered in the present Ethical Anthropology with the term of the person, to which the understanding belongs the term of the personal identity, the freedom of will and responsibility as well as the attitude and the conscience. Its development requires a phenomenological-historical view on the understanding of feelings and thinking in European culture, which reveals those aspects which were largely pushed back by the dominant branch of metaphysics in its relevance to the moral foundation. From this perspective, personal ethics explores its basis in emotional experience, without an understanding of moral quality is impossible, and this is discussed with the example of the feeling of sympathy which is found in a moral sense. But moral feelings alone are not sufficient, but require critical support through reason and through an effort for self-cultivation. Only then can they form part of the balanced path to the success of life, which allows man to counter his moral potency in the fulfillment of his life.<br /> <br /> ==Zhu Xu 朱旭==<br /> <br /> Vol. III<br /> ISBN 978-3-86515-004-2 (3-86515-004-7) 59 €<br /> <br /> The virtue ethics, which has been intensified discussed since the second half of the 20th century, is now a major alternative to the established formal approaches of the metaphysical European tradition of ethics. This is because it can look back on a long history which coincides with the beginning of written philosophy in Greek and Chinese antiquity. The knowledge of the high ethical level of these approaches has been pushed back into the background for a long time, due to the ideological attitudes which have taken place during European Christianization and the persistent misleading polemic. Another non-critical and problematic effect was the uncritical use of the term 'deontological', which had been torn out of the antique context and applied to concepts that were directed against virtuous approaches. The present volume aims to help to overcome these shortcomings and confusion. In doing so it elaborates an intercultural perspective that, based on the ancient Chinese virtue ethics, offers a detailed comparison with Greek approaches. The result of this detailed presentation and intensive philosophical penetration shows not only the cross - cultural anthropological relevance of virtuous ethics, but also the fact that the ancient theories of self - cultivation can also open up perspectives for today 's people who can provide valuable guidance in a time of progressive formalization on the way to a subject-centric self-perfection.<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> <br /> Vol. IV ISBN 978-3-86515-005-9 (3-86515-005-5) 59 €<br /> <br /> ORDERING<br /> Ruhr University, P.O. Box &quot;Bochumer Universitätsverlag&quot;, Universitätsstr. 150, 44801 Bochum, Germany Tel. +49 (0) 234 701360, Fax 701230, email info@blaetterwald.net, Publisher's delivery for the European University Press and the Bochum University Press</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97442 2020-09-23T04:20:20Z

<p>Wu Kai: /* Peng Yuzhi 彭育志 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of king Injo'' as:--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:20, 23 September 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a Eight Banners of Manchuria textbook of flag studies.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> そのようなことによって、旧来に満語で書かれた漢籍の教材として使われていた古い訳本はもはや時代に合わなかったわけだ。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97441 2020-09-23T04:15:04Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a Eight Banners of Manchuria textbook of flag studies.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> そのようなことによって、旧来に満語で書かれた漢籍の教材として使われていた古い訳本はもはや時代に合わなかったわけだ。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97440 2020-09-23T04:10:17Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a Eight Banners of Manchuria textbook of flag studies.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> そのようなことによって、旧来に満州八旗満語学の教材として使われていた古い訳本はもはや時代に合わなかったわけだ。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97438 2020-09-23T04:06:09Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:04, 23 September 2020 (UTC)--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 04:04, 23 September 2020 (UTC)<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a Eight Banners of Manchuria textbook of flag studies.--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> そのようなことによって、旧来に満州八旗教育の教材として使われていた古い訳本はもはや時代に合わなかったわけだ。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:06, 23 September 2020 (UTC)<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97436 2020-09-23T03:56:30Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a Eight Banners of Manchuria textbook of flag studies.<br /> <br /> そのようなことによって、旧来に満州八旗教育の教材として使われていた古い訳本はもはや時代に合わなかったわけだ。<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97435 2020-09-23T03:49:25Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> <br /> Because of this, the old version is out of date as a textbook of flag studies.<br /> <br /> そのようなことによって、旧来に教材使用の柱として使われていた古い訳本はもはや今時に合わないわけだ。<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai https://bou.de/u/index.php?title=20200921_trans&diff=97434 2020-09-23T03:48:09Z

<p>Wu Kai: /* Wu Kai 吴恺 */</p> <hr /> <div>Dear students, this is the homework of Sep 21.<br /> <br /> =Task=<br /> A Chinese paper on Manchu translation policies was submitted to the English editor. The English editor starts to translate it into English, but has only translated the first part and runs out of time. He asks his students, to read the first part and then to continue to translate the paper sentence by sentence. He also asks the students to help improve the translation of at least one fellow student. Please sign your translations with the signature button (buttons on the top, third from right).<br /> <br /> =First part of the text (already translated), please read for background=<br /> '''“崇儒重道”背景下的“五经”满文翻译<br /> ——清代中、前期翻译政策研究之（二）'''<br /> <br /> '''摘要'''：自汉代起，“崇儒重道”即是中国历代封建王朝的“文治”之道。清初以来，“崇儒重道”既是国家文化政策的重要内容，也是统治者构建精神威权，实现帝王敷治的重要手段。在此背景下，以“五经”、“四书”为代表的众多儒学典籍被相继翻译或编译，其译本不仅被用于科举考试，而且被用作旗学教材。对统治者而言，“五经”的翻（编）译有着极其特殊的意义，这一点表现在诗学与政治文化等方面：首先，“五经”的翻（编）译是旗人学习汉族主流学术体系与传统道德规范的重要途径；其次，“五经”译本的阅读拉近了民族与民族之间的文化、心理距离，有利地缓和了民族关系，增进了民族交流，巩固了统治基础。<br /> <br /> '''关键词'''：崇儒重道;“五经”;汉籍翻译;科举考试;政治文化意涵<br /> <br /> '''导论'''<br /> <br /> “崇儒重道”是汉代以降，中国历代封建王朝的文治之道。作为历代统治者信奉的官方哲学，孔、孟学说及其代表的儒学价值体系长期享有“定于一尊”的社会地位。对社会大众而言，儒家学说是其普遍信仰和精神支柱。对统治者而言，儒家学说则是其建构精神威权，实现帝王敷治的重要工具。清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。尤其是前者，其中蕴含着丰富的伦理观念与道德准则，它们的翻译有效沟通了满、汉民族之间的关系，促进了文化交流。通过引导与规范翻译事业，统治者不仅学习了汉族文化与典章制度，而且以思想为治术，完善了治国理念与模式，建构了政权的合法性，实现了“治统”与“道统”的和谐统一。<br /> <br /> <br /> '''1.清初以来的汉籍翻译传统'''<br /> <br /> 同“四书”一样，“五经”也是儒家学说的主要经典。《白虎通·五经》中，所谓“经”即是“常也”，而按照《释名》中的说法，“经”则是“常典也”，可见“经”作为典籍必具有恒常意义。（袁行霈，2009：6）那么，“五经”的恒常意义何在？无疑，其意义当在于修身养性、塑造德行。当然，不同经书的具体意义不尽相同，如《礼记·经解篇》中曾援引孔子的话，认为《诗经》的作用在于使人“温柔敦厚”，《书经》（《尚书》）使人“疏通知远”，《易经》使人“洁静精微”，《礼记》使人“恭俭庄敬”，《春秋》则使人“属辞比事”。（同上：7）概言之，所谓“五经”之核，当在于“君子人格”的培养。从此意义上讲，“五经”经义甚合于满清统治者的文治理念与教化政策，因而得到后者的力主与推广。<br /> <br /> 天聪年间，随着汉官相继加入满族政权，许多具有汉族文化内涵或汉化特征的改革建议被相继提出。如天聪七年八月初九日，宁完我奏请满洲政权“参汉酌金，用心筹思”，不可一味移植中原汉制，而必须通权达变，依次渐进，开创合于自身需求的制度章程。（罗振玉，1980：82）自此，满洲统治者在进行治国施政，振兴文教时，便以“采行汉制”作为重要的指导原则。为沟通思想，探寻汉制，满洲权贵在汉官的引介下，翻写并讲解汉文典籍，促进了满文译书事业的发展，及统治者对汉族文化的认识。如天聪七年九月，宁完我奏请太宗敕译《大学》、《中庸》、《孝经》等书，虽然译书范围并不涉及“五经”，但所奏译书通过嗣后的“日讲”，仍对太宗撷取儒学思想产生了潜移默化的影响。事实上，早在天聪二年，太宗即赐书朝鲜李氏王朝，索求《尚书》、《诗经》的金、元两朝译本。同时，在太祖敕译汉籍的基础上，命达海续译汉文书籍。然而，尽管太宗本人性嗜典籍，披览弗倦，希望通过翻译与阅读学习汉族文化，但所译书籍乃以“四书”居多，而鲜有涉及“五经”者。由于满洲统治者多不通汉文，因而此局面的造成主要归因于汉官的具疏谏言。如天聪六年九月，王文奎条陈时宜，提到的主要是“四书”，认为它涵盖了帝王治平之道之微妙者。翌年九月，宁完我请译汉书，虽然提及者甚众，但仍限于《学》、《庸》、《论》、《孟》等。此外，便是《通鉴》、《六韬》、《三略》、《素书》等所谓“知古来兴废”，以及“益聪明智识，选练战功机权”的书籍，以上诸中皆与“五经”无关。（同上：24、71）<br /> <br /> 满清统治者对于翻译汉籍的支持有着一惯性。事实上，早在亲政之前，顺治皇帝便表现出对于汉族制度和文化的极大兴趣。顺治元年，世祖令祁充格等人翻译辽、金、元三史，并因此对其进行赏赐。顺治二年，祁充格授弘文院大学士，以及明史总裁官，一定程度上即是对其翻译工作的肯定。次年，内国史院大学士刚林奉旨翻译《洪武宝训》（又名《洪武要训》），该书为清朝入关之后翻译的第一部汉文典籍，意在借用前朝开国皇帝的训词教训满洲贵族。同其先祖一样，顺治皇帝一方面把八旗满洲贵族作为法外之人，给予特别恩惠，另一方面又对汉籍官员和汉族文化采取信任政策。为了进行教化，加强思想统治，顺治帝诏令臣民尊孔读经，讲求忠孝节义，不仅亲率诸王大臣赴太学祭祀孔子，并行两跪六叩礼，而且命人翻译五经。顺治十一年，世祖命深谙汉文的鄂貌图翻译《诗经》，后者曾为清太宗讲解译书史，并参与翻译《大明会典》。清军入关后，鄂貌图又奉敕参与太祖、太宗两朝实录的修纂，并以满文翻译《礼记》、《尚书》、《纲鉴会纂》等汉文典籍。顺治十一年，内务府刊刻二十卷《诗经》的满文译本，该译本出鄂貌图之手，对当时的满洲政权了解汉族传统与文化发挥了重要作用。<br /> <br /> 康熙皇帝对于翻译事业也是极尽支持之责，这一点明显体现在“翻书房”和“武英殿修书处”两处机构的设置，及其相关活动上。康熙十年，圣祖敕设“翻书房”，用以翻译谕旨、起居注、御论等文书。所谓“翻书房”又称“内翻书房”、“内书房”，设立之初并无定员。顾名思义，“翻书房”的设立是出于书籍翻译的需要，而此处所说的“书”, 主要指汉文典籍，如“四书”、“五经”等。遵圣祖圣谕，“翻书房”的主要任务包括两大方面，其一是奉旨翻译经史，其二是圣祖敕翻御制诗文，二者皆“纂辑以候钦定”。（章宏伟，2009：83）作为专司翻译的机构，“翻书房”还负责语言文字的审定。关于“翻书房”的译书经历，《啸亭续录》中也有记载，认为由它所翻译的《资治通鉴》、《性理精义》、《古文渊鉴》等书行文简洁，义理明晰，流传甚广。（昭梿，1997：397）康熙皇帝自幼聪颖好学，对于汉籍和汉族文化有着很深的情愫，这一点即是他支持翻译事业的文化原因。《东华录》中曾说，圣祖好学不倦，不仅深谙帝王政治，而且于圣贤心学、六经要旨等，也能融会贯通。圣祖认为，儒学经典义理无穷，对于“教化”尤其重要。（中国第一历史档案馆，1984：80）<br /> 雍正在位期间，汉文书籍的满文翻译和出版仍在发展，但种类与数量稍嫌单调和稀少。之所以如此，显然与雍正年间的政治形势有关。雍正二年，世宗敕颁《朋党论》和《雍正上谕》，表明统治集团内部存在激烈斗争。与此同时，为了强化皇权统治，清廷遵旨颁行《上谕八旗》和《上谕旗务议复》，意在削弱王公旗主之权势。同是在雍正二年，世宗又对圣祖“上谕十六条”进行演绎与注解，并与后者合成《圣谕广训》，以加强伦理道德教育。在世宗的设计中，《圣谕广训》的成书和颁行，并非只是语言文字工作的具体实践，它同样也是重要的文化政策，有助于加强对老百姓的思想和法制教育，维护统治的稳定。<br /> <br /> =Second part of the text, to be translated sentence by sentence into English=<br /> ==Cao Runxin 曹润鑫==<br /> 乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。<br /> <br /> ==Chang Huiyue 常慧月==<br /> 乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。<br /> <br /> ==Chen Han 陈涵==<br /> 以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。<br /> <br /> ==Chen Hui 陈惠==<br /> 鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。<br /> <br /> ==Chen Jiangning 陈江宁==<br /> 清初以来的汉书翻译与刻印，有着明确的流程。<br /> <br /> ==Chen Jiaxin 陈佳欣==<br /> 康熙朝以前，书籍的译印均由内三院或翰林院经理。<br /> <br /> ==Chen Jing 陈静==<br /> 康熙十年前后“内翻书房”设立之后，汉书翻译的工作由内翻书房先行办理，完成翻译后送交内务府，并由其下设机构武英殿刊刻。康熙十九年，武英殿增设修书处，汉书译本再次转移至此，至雍正七年成为清初刻印书籍的专门机构。<br /> <br /> ==Chen Jingjing 陈静静==<br /> 循例，汉文书籍译毕成书后，由皇帝颁赐诸王及文武大臣，其中儒家经典的译本另行颁赐给八旗官学，用作研习满文的教材。<br /> <br /> ==Chen Sha 陈莎==<br /> 2.“五经”翻译情况概览<br /> <br /> 清初的“五经”翻译始于顺治年间。<br /> <br /> ==Chen Sunfu 谌孙福==<br /> 对此，《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》及《清代内府刻书目录解题》等文献中均有记载，毋庸赘述。<br /> <br /> ==Chen Yongxiang 陈永相==<br /> 顺治十一年，世祖敕译《诗经》成书，由内府刊印，计二十卷二十册，是为清代翻译“五经”之始。<br /> <br /> ==Cheng Yusi 成于思==<br /> 据《御制诗经·序》（顺治本）中所言，世祖敕译《诗经》，是因为该书的意旨能使人明性意、崇礼义，其言其论上可用于治国，下可用于修身，以其事君必忠，以其事父必孝，如此则可期人伦敦厚、教化端正。（叶高树，2002：72）<br /> <br /> ==Deng Jinxia 邓锦霞==<br /> 当然，此书的翻译也与汉籍官吏的推荐密不可分。<br /> <br /> ==Ding Daifeng 丁代凤==<br /> 顺治二年三月，大学士冯铨、洪承畴等即奏陈世祖，认为自古帝王安定天下，必以修德勤学为首务，如金世宗、元世祖等便“博综典籍”、“勤于文学”，而帝王修身治人之道，尽备于“六经”，若能以满、汉词臣朝夕进讲，则圣德势必日进。（巴岱、图海等，1985：3-4）<br /> <br /> ==Fang Jieling 方洁玲==<br /> 嗣后，朱允显、张璿（xuán）等也相继奏设“经筵”，进讲“四书”、“六经”等有关身心要务、治平大道者。<br /> <br /> ==Gan Fengyu 甘奉玉==<br /> 儒学典籍虽然众多，然世祖尤为偏爱《易经》与《孝经》，认为《孝经》“言近而指远，理约而该博”，放之四海而皆准。（清世祖御注，1986：1-2）<br /> <br /> ==Gao Mingzhu 高明珠==<br /> 至于“六经”之一的《易经》，世祖也认为它“义精而用博”，囊括了天地万物之理，因而被历代硕儒所阐发。（同上：2）<br /> <br /> ==Gong Yumian 龚钰冕==<br /> 顺治十三年十二月，奉世祖圣意，傅以渐、曹本荣等通过殚心研究，融会贯通，纂修《易经通注》成书。<br /> <br /> ==Gu Dongfang 顾东方==<br /> 世祖希望通过此书，将原本中的义经奥旨悉数阐明，使其如同“日星”般灿然。（傅以渐、曹本荣等，1986：1）<br /> <br /> ==Guan Qinqing 管钦清==<br /> 圣祖康熙帝热衷学问，但其兴趣主要在宋儒理学上。<br /> <br /> ==Gui Yizhi 桂一枝==<br /> 《康熙帝御制文集》中说，上古帝王之治本于道，其道本于心，而辨析心性之理，能羽翼“六经”，发挥圣道者，莫详于宋代诸儒。（玄烨，1966a：1-2）<br /> <br /> ==Guo Lu 郭露==<br /> 圣祖提倡宋儒之学，尤其是朱子理学，当然有其政治意图，但其在推崇朱熹之余，也对“五经”教义给予赞誉。<br /> <br /> ==Han Haiyang 韩海洋==<br /> 在他看来，朱熹阐发“五经”，因经取义，理正言顺，和平宽弘，融天地正气、宇宙大道于一体，既可施诸政事，也可验诸“日用”。（玄烨，1966b：10-12）<br /> <br /> ==Han Wanzhen 韩宛真==<br /> 如学界共知，圣祖亲政之后，满洲政权对于汉族文化的运用即步入全面阶段。<br /> <br /> ==He Changqi 何长琦==<br /> 康熙六年六月，圣祖接纳汉官熊赐履奏议，指出敦崇实行，扶持正教，必非“六经”和《论语》、《孟子》等书而不读。（马齐等，1985：14-15）<br /> <br /> ==Hu Baihui 胡百辉==<br /> 为学习汉族的主流学术体系，以及传统的道德规范，圣祖不仅留意典籍，而且敕译、编定群书，将其当作自己的主要政绩，其中与“五经”相关者如康熙十七年敕撰，并于两年后完成译印的《日讲书经解义》。<br /> <br /> ==Hu Huifang 胡慧芳==<br /> 该书计二十六卷二十六册，由内府刊刻，卷前有《御制序》、译撰者库勒纳的《进呈疏》，以及库勒纳、叶方蔼等五十八位编（译）撰者的姓名与官衔。<br /> <br /> ==Hu Jin 胡瑾==<br /> 虽然此书名为“奉敕撰”，实际上却是编撰与翻译相间，因此叶高树在其《清朝前期的文化政策》一书中，仍将其定为“汉籍满文译本”之一。（叶高树，2002：68）<br /> <br /> ==Ji Tiantian 纪甜甜==<br /> 自康熙十九年起，至乾隆朝末期，清代官方译印的“五经”书籍还有《日讲易经解义》（康熙二十二年，牛钮、孙在丰等奉敕撰）、《诗经》（雍正十一年，顺治皇帝敕译）、《日讲春秋解义》（乾隆二年，库勒纳等奉敕译）、《御制翻译书经集传》（乾隆二十五年，乾隆皇帝敕译）、《御制翻译周易》（乾隆三十年，乾隆皇帝敕译）、《御制翻译诗经》（乾隆三十三年，乾隆皇帝敕译）、《御制翻译礼记》（乾隆四十八年，乾隆皇帝敕译）、《御制翻译春秋》（乾隆四十九年，乾隆皇帝敕译）等。<br /> <br /> ==Jiang Fengyi 蒋凤仪==<br /> 上述译本中，多数并未明确交待译者姓名，而只是在卷前写明“敕译”二字。<br /> <br /> ==Jiang Hao 姜好==<br /> 虽然如此，从清代文教政策和职官体系看，其译者当属兼通满、汉文之笔帖式、庶吉士、中书、库使等无疑。<br /> <br /> ==Jiang Qiwei 蒋淇玮==<br /> 需要指出，顺、雍、乾期间，《诗经》一书前后被译印三次，其中顺治十一年、雍正十一年刊印的系同一版本，而乾隆三十三年的《御制翻译诗经》在卷数、册数上均少于前者，显然不同于前者。<br /> <br /> ==Kang Haoyu 康浩宇==<br /> 一部书籍被译印多次，足见统治者对翻译之重视，以及对所译汉籍经义之推崇。<br /> <br /> ==Kang Lingfeng 康灵凤==<br /> 3.“五经”译本在科试与旗学中的应用<br /> <br /> 与明、清二朝以“四书文”取士一样，“五经”教义也是八旗科试中的重要内容。<br /> <br /> ==Kong Xianghui 孔祥慧==<br /> 早在清军入关之际，朝廷即规定乡、会二试中，首场考试“五经”各四题，共计二十题，由考生自行决定，各占一经，作答四题。<br /> <br /> ==Kong Yanan 孔亚楠==<br /> 由于五经题和四书题一样采用八股体，因而也称制艺，又称时文。<br /> <br /> ==Lei Fangyuan 雷方圆==<br /> 童生考试及其岁、科考试中，除考试四书文一道之外，同样考试经文一题。<br /> <br /> ==Lei Kuangxi 雷旷溪==<br /> 据商衍鎏（liú）考证，清代童生之县试共试五场，其中第一场主要考试四书文和五言六韵试帖诗，第二场加入性理论或者孝经论，但自第三场起，考试内容中便加入经文一篇，出题范围以“五经”为限。（商衍鎏，2014：9-10）<br /> <br /> ==Li Haiquan 李海泉==<br /> 《清史稿·选举志一》中，对于儒童入学考试的程式也有记载。<br /> <br /> ==Li Lili 李丽丽==<br /> 据此可知，清代的儒童考试初用四书文、孝经论各一题，但以前者为主，孝经题较少。<br /> <br /> ==Li Lingyue 李凌月==<br /> 这一办法后来被调整，改为“正试”用四书文二道，“复试”用四书文和小学论各一题。<br /> <br /> ==Li Liqin 李丽琴==<br /> 但康熙三十九之际，圣祖令各直省考试儒童时，由于学生平日即以“五经”和小学等作为学习内容，因而考试时也考试经书，并要求学臣将考生中能够“成诵三经、五经者”，“酌量优录”。（同上：28）<br /> <br /> ==Li Luyi 李璐伊==<br /> 康熙四十二年，顺天学政甚至专门以背诵五经作为取士原则，这一做法虽被奉旨申饬，但“五经”之重要，由此可见。<br /> <br /> ==Li Meng 李梦==<br /> 如乾隆朝中期以后，将儒童之“复试”改为四书文、经文（即“五经”）各一道，即是明证。<br /> <br /> ==Li Yongshan 李泳珊==<br /> 生员参加岁考（学政到任第一年的考试）、科考（学政到任第二年的考试）时，自清初起便考试经文，初定为一篇，嗣后暂遭裁撤。<br /> <br /> ==Li Yu 李玉==<br /> 雍正六年，又复考经文题一道，无论岁试、科试，都是一样。<br /> <br /> ==Lin Min 林敏==<br /> 乾隆二十三年，岁试改为四书文一道、经文题一道。<br /> <br /> ==Lin Xin 林鑫==<br /> 虽然科试不再考试经文题，但岁试中考试经文的做法成为“永制”。<br /> <br /> ==Ling Zijin 凌子瑾==<br /> 清代的举贡体制中，也有考试经文者。<br /> <br /> ==Liu Bo 刘博==<br /> 以“拔贡”考试为例，廪、增、附生在应考拔贡之前，需向所在府、州、县儒学署（教育管理机构）报名，然后分两场参加拔贡考试，其中每场也需要考试经文一篇。<br /> <br /> ==Liu Jinxingqi 刘金惺琦==<br /> 乾隆十六年，拔贡考试中增加“会考”，仍试以经文、四书文各一题。<br /> <br /> ==Liu Liu 刘柳==<br /> 乾隆十七年，经文题改为经解题，出题范围不变。<br /> <br /> ==Liu Ou 刘欧==<br /> “优贡”考试也是如此，如乾隆二十九年，“优贡”考试四书文二篇、经解一篇。<br /> <br /> ==Liu Yangnuo 刘洋诺==<br /> 即便在清末之际，如光绪二十七年，“优贡”考试也仍在第二场中考试“五经义”一篇。<br /> <br /> ==Liu Yi 刘艺==<br /> “优贡”中的会考环节也一样考试经文一篇，与“拔贡”会考相同，且宣统元年（1905）废除八股文之后，五经义试题作为考试内容仍照常办理。<br /> <br /> ==Liu Yiyu 刘怡瑜==<br /> 清代乡举考试（俗称“乡试”）也多承明制，其考试诸法如场期、试题、弥封、誊录、对读等，大体沿袭明代，更张者不多。<br /> <br /> ==Liu Zhiwei 刘智伟==<br /> 清制，乡试共分三场，一般定于八月举行，遇重大事故时也可推移。<br /> <br /> ==Lou Cancan 娄灿灿==<br /> 考试题型及内容上，仍以“制艺”形式为主，别称“时文”，头场考试七篇，其中四书文三篇、五经文二十篇（每经出四题）。<br /> <br /> ==Luo Weijia 罗维嘉==<br /> 康、雍年间，对乡试的考法进行了调整，如二场试论初用《孝经》，后兼用《性理》。<br /> <br /> ==Luo Yuqing 罗雨晴==<br /> 雍正初年，又复改初制，只考《孝经》。<br /> <br /> ==Ma Juan 马娟==<br /> 又如康熙二年，朝廷因故暂废八股文，并将原制中第三场考试的“策”五题移至第一场，同时将二场改为四书论、经论各一篇。<br /> <br /> ==Ma Shuya 马淑雅==<br /> 凡此种种，都是乡试考法的临时调整。<br /> <br /> ==Ma Zhixing 马智星==<br /> 无论作何调整，乡试中考试五经文题，却是清代定制。<br /> <br /> ==Meng Ying 孟莹==<br /> 如乾隆五十二年，高宗以考生专治一经，而不能兼通其它经书，不合于敦崇实学的理念，因而敕令自翌年起，废除乡试中“专治一经”的做法，要求分年轮试一经，以后再改为每经中各出一题，即经文五题。（同上：80）<br /> <br /> ==Mo Ling 莫玲==<br /> 经文五题的底本即《易经》、《书经》、《诗经》、《春秋》和《礼记》，但内容上并非专考先秦诸子的原说，其中加入了宋儒的章句、注疏。具体而言，便是《易经》中融入程、朱学说的本义，《书经》中融入蔡沈的注解，《诗经》中融入朱熹的集传，《春秋》中融入胡安国的研究，以及《礼记》中融入陈澔的传注。<br /> <br /> ==Mo Nan 莫南==<br /> 清末光绪年间，清廷因故对乡试的办理再作改革，但五经文或五经义仍照考不误。<br /> <br /> ==Nie Xiaolou 聂晓楼==<br /> 由于清沿明制以来，“则会场各题目，皆与乡试无异矣”，因而此处不再详述，但可以肯定的是，无论乡试会试，“五经”乃是重要的命题依据。（王凯旋，2015：42）<br /> <br /> ==Ou Rong 欧蓉==<br /> 《清史稿》中说，自唐以后，废选举之制，改用科目，历代相沿。<br /> <br /> ==Ouyang Jinglan 欧阳静兰==<br /> 明代以来，专取四子书，以及五经命题，谓之“制艺”，而“有清一沿明制，二百全年，虽有以他途进者，终不得与科第出身者相比。”（赵尔巽等，1977：3099）<br /> <br /> ==Ouyang Ling 欧阳玲==<br /> 可见，清代科考的场次和内容等，与明朝旧制整体上乃是相向而行的。<br /> <br /> ==Peng Dan 彭丹==<br /> 清代科试对五经文的倚重，与官学中的教、习内容密不可分。<br /> <br /> ==Peng Juan 彭娟==<br /> 清初以来，以满译汉籍文本作为旗学教材，渐成传统。<br /> <br /> ==Peng Ruihong 彭锐宏==<br /> 早在太祖年间，为教导八旗子弟读书，并解决“无书可读”的窘境，上谕达海着手翻译汉籍。<br /> <br /> ==Peng Xiaoling 彭小玲==<br /> 虽然此时翻译的汉文书籍并不涉及“五经”，但此事表明译书与旗人教育之间的关系。<br /> <br /> ==Peng Yongliang 彭永亮==<br /> 太宗即位以后，愈发重视旗人教育，并为此向朝鲜王朝索要译书，其中即包括《诗经》和《书经》。<br /> <br /> ==Peng Yuzhi 彭育志==<br /> 《朝鲜王朝实录·仁祖实录》中对此事的记载如下：<br /> <br /> It was recorded in ''the Veritable Records of the Joseon Dynasty · the True Record of Injo'' as:<br /> <br /> ==Qi Kai 漆凯==<br /> 闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。（韩国国史编纂委员会，1973：38）<br /> <br /> <br /> ==Qu Miao 瞿淼==<br /> 太宗索书一事发生在天聪二年，即1628年。<br /> <br /> ==Quan Meixin 全美欣==<br /> 同年十二月，朝鲜政府回函，以“第国中所有，只是天下通行本，而金、元所译，则未曾见得”为由，谢绝了太宗的请求。<br /> <br /> ==Sagara Seydou ==<br /> 然而次年十月，仁祖又改变主意，将太宗索取的部分汉籍译本赠予大清。<br /> <br /> ==Shi Diwen 石迪文==<br /> 同书中对此亦有记载，其文如下：<br /> <br /> ==Shi Haiyao 石海瑶==<br /> 金汗求书册，以《春秋》、《周易》、《礼记》、《通鉴》、《史略》等书赐之。（同上：352）<br /> <br /> ==Si Yu 司妤==<br /> 虽然太宗最为看重的《诗》、《书》二经，以及“四书”等均未获得封赠，但“五经”中其它三经的到来，即《礼记》、《春秋》和《周易》，仍有助于缓解清初旗人教育中教材短缺的问题。<br /> <br /> ==Song Jianru 宋建茹==<br /> 顺治朝初期，因满清王朝刚刚入关，朝廷在开办国子监八旗官学时，即同意满、汉官员子弟可根据自身意愿选择习汉书，或者习清书，而此时的学习教材无非就是传统的汉文经史，或者汉文典籍的满文译本。<br /> <br /> ==Su Lin 苏琳==<br /> 后者仍以经、史居多，其中又以“四书”多于“五经”。<br /> <br /> ==Tan Xingyue 谭星越==<br /> 如顺治二年选授他赤哈哈番的阿什坦所翻译的《大学》、《中庸》等，便被用作旗人教育的主要教材。（陈康祺，1997：362）<br /> <br /> ==Tan Xinjie 谭鑫洁==<br /> 顺治九年，礼部题准，嗣后坊间书贾只能刊行、售卖理学政治、裨益文业的各类书籍。<br /> <br /> ==Tan Yuanyuan 谭媛媛==<br /> 至于“其他琐语淫词，及一切滥刻窗艺社”，则“通行严禁”，违者从重究治。（索尔讷等，1968：165）<br /> <br /> ==Tang Bei 汤蓓==<br /> 为端正士风，顺治帝通令直省学政，将“五经”和“四子书”等，“责成提调教官课令生儒诵习讲解。”（稽璜等，1988：5486）<br /> <br /> ==Tang Ming 唐铭==<br /> 翌年二月，又命内院诸臣翻译“五经”，并亲自审阅译稿，感叹“天德王道，备载于书，真万世不易之理也。”（巴岱、图海等，1985：572）<br /> <br /> ==Tang Yiran 汤伊然==<br /> 此书于顺治十一年译成，从当时坊间存在满文抄本、满汉合璧本的事实看，可以推见其流传情况仍然无外乎两种：其一，被颁赐群臣；其二，被用于旗学教材。<br /> <br /> ==Tao Ye 陶冶==<br /> 顺治年间，虽然皇帝因过度亲近汉臣、仰慕汉族文化，而遭到来自满族统计阶层的压力，但旗学教育中以汉籍满文译本作为教材的传统却未改变。<br /> <br /> ==Wang Meiling 王美玲==<br /> 如康熙年间傅达礼翻译的《大学衍义》，一经告蒇便颁赐诸臣，及八旗官学。<br /> <br /> ==Wang Xuan 王轩==<br /> 与此同时，翰林院按日进讲，并年终汇呈的各类“讲义”也被选用作旗学教材，如《日讲书经解义》、《日讲易经解义》、《日讲春秋解义》、《日讲礼记解义》等。<br /> <br /> ==Wang Yu 王煜==<br /> 由于这些以“解义”形式出现的各类满文书籍有其汉文底本，因而实质上仍是汉籍“五经”的重译。<br /> <br /> ==Wang Yuan 王源==<br /> 无论编译这些书籍的目的是“因国书以通经义”，还是“因经义以通国书”，其作为旗学教材使用的事实可得验证。（叶高树，2006：1-42）<br /> <br /> ==Wei Honglang 韦洪朗==<br /> 乾隆年间，“五经”的翻译继续进行，其原因之一便是对作为满文教材使用的旧译本进行修订，以适应满洲文化的新变化，尤其是满语作为国语的最新发展。<br /> <br /> ==Wei Yafei 魏亚菲==<br /> 满文创设之初，词汇较少，文法也很简单。<br /> <br /> ==Wen Sixing 文偲荇==<br /> 至乾隆年间，由于经历百余年发展，语言的新特点早已显现，这一点不仅表现在新词汇的添设上，而且表现在语法和句型的完整性上。<br /> <br /> ==Wen Xiaoyi 文晓艺==<br /> 从乾隆朝纂辑的《钦定新清语》档册上，也可看出满语的这一演变，主要表现在五个方面：其一，将满语中的许多汉语借词，从原来的音译改为意译；其二，对意译汉语的许多问题进行纠正；其三，对满语中某些音位的对译汉字进行规范；其四，对有声调的汉语词在译为满文时出现的问题进行解决；其五，对满语中的某些词汇进行意义上的阐发与拓展。（佟永功、关嘉禄，1995：66-69）<br /> <br /> ==Wu Kai 吴恺==<br /> 正因为这样，旧译本作为旗学教材已不合时宜。<br /> Because of this, the old version is out of date as a textbook of flag studies.<br /> そのようなことによって、旧来に教材使用の柱として使われていた古い訳本はもはや今時に合わないわけだ。<br /> <br /> ==Wu Qi 吴琪==<br /> 如乾隆三十二年，《御制翻译诗经》成书，内有乾隆帝的御制序言，其中便提到“参采新定国语”进行重译，以“复为折衷是正”。（清高宗敕译，1986：7-8）<br /> <br /> ==Wu Qiong 吴琼==<br /> 乾隆帝在新清语的标准下敕译的“五经”文本，对嗣后汉文旧籍译本的新译，以及改进旗学教材等，均有较大帮助。<br /> <br /> ==Wu Xiang 邬香==<br /> 如咸丰六年七月，文宗重新校阅并厘定《翻译孝经》（雍正五年敕译）时，便参照了《御制翻译五经》中的新清语。<br /> <br /> ==Wu Yilu 吴一露==<br /> 同年，大学士文庆进呈孟保翻译的《大学衍义》，文宗在“覆加批阅”此书时，也遵从乾隆年间《五经》的钦定译本。<br /> <br /> ==Wu Zijia 吴子佳==<br /> 虽然新译本成书的同时，某些汉籍的旧译本仍被作为教材使用，但无论新译旧译，皆为清代的旗学教育与人才培养，贡献甚蜚。<br /> <br /> ==Xiao Shuangling 肖双玲==<br /> 4.“五经”翻译的诗学与政治文化原因<br /> 以《诗经》为例，其前后两次的满文翻译相距百年以上，因而两个译本在句法、词汇、文体特征上存在差异，如旧译本文体上较为简洁，新译本文体上较为详细，造成这一显著区别的原因乃是前、后两个年代的满语发展情况，以及社会的主流诗学观念。<br /> <br /> ==Xiao Ting 肖婷==<br /> 有关这一点，日本学者山琦雅人在其《论满文&lt;诗经&gt;新旧翻译之差异》中已有详细论证，此处亦不再详述。（山琦雅人，2000：246-261）<br /> <br /> ==Xiao Xi 肖茜==<br /> 叶高树在其《&lt;诗经&gt;满文译本比较研究》一文中，也对《诗经》的两个译本做了考订与研究，其研究较之山琦雅人（2000）更为详实，内容上不仅涉及语言，如名词的翻译、叠字的翻译、用字的比较、语法的比较、而且引用、阐释了乾隆朝重译《诗经》的原委，其中指出：<br /> <br /> <br /> ==Xiao Yining 肖伊宁==<br /> 是经于世祖章皇帝顺治十一年译定初本，体裁已备，阅时兹久，凡《清文鉴》所未赅皙者，参采新定国语，侔揣务极精详，因命分册签题，几余复为折衷是正。（清高宗敕译，1768：6-8）<br /> <br /> ==Xie Fan 解帆==<br /> 上文中，明确阐述了重译《诗经》的诗学原因，即，乾隆年间满语发展的变革，以及“钦定新清书”的编订等，使得旧译中的语言文字与时下通行者凸显差距，重译之事不可不为。<br /> <br /> ==Xie Ziyi 谢子熠==<br /> 至于重译此书是否仅出于语言变革的原因，而与政治实践或者文化政策全然无关，或者说重译是否也有政治文化意涵，重译本御制序言中并没有提及，但这一点在旧译本中已有交代。<br /> <br /> <br /> ==Xu Jia 徐佳==<br /> 康熙朝期间，译印汉书的工作继续进行，主要包括两个方面：其一，整理前朝尚未刊行的译本；其二，新译其它汉族书籍。<br /> <br /> ==Xu Jing 许晶==<br /> 此间虽并未翻译“五经”作品，却将“日讲”中用到的“五经”章句讲义集结刊印，如《日讲书经解义》、《日讲易经解义》等，以阐发义理、裨益政治，使天下臣民知其“仰法前代圣王”，孜孜求治之意。（玄烨，1966b：10）<br /> <br /> ==Xu Jing 许静==<br /> 这些“解义”并非直接译自汉文典籍，因此严格意义上并非翻译，但因为它们系经汉文编写后再译写为满文，因而仍可纳入广义上的翻译范畴。<br /> <br /> ==Xu Mengdie 徐梦蝶==<br /> 康熙朝以此种方式编译的“五经”作品还有《日讲春秋解义》和《日讲礼记解义》，但上述二者均未在本朝印行，而是延宕至乾隆时期。<br /> <br /> ==Xu Pengfei 许鹏飞==<br /> 关于《日讲春秋解义》延期刊布的原因，《清高宗（乾隆）御制诗文全集·御制文初集》中有明确解释，其意是康熙晚年图书编纂任务繁重，雍正即位后又认为康熙朝汉文本《钦定春秋传说汇纂》与胡安国本人的思想颇多出入，且“于圣心自多未洽”，故而命果亲王允礼、大学士张廷玉，以及内阁学士方苞等对其进行校订，如此才使得刊印有所牵延。（清高宗御制，1993a：13-14）<br /> <br /> ==Yang Chenting 杨晨婷==<br /> 《日讲礼记解义》虽然成书于康熙朝，但因为该书卷帙浩繁，一直存放在翻书房，导致满文翻译迟迟未能完成。<br /> <br /> ==Yang Hairong 杨海容==<br /> 至乾隆朝初期因为修纂《三礼义疏》，才将该书取出，以便参校异同，并将此书的翻译加以完成。<br /> <br /> ==Yang Hui 阳慧==<br /> 至于《日讲诗经解义》，康熙年间亦未付梓。<br /> <br /> ==Yang Yi 杨逸==<br /> 其中原因，可能与顺治年间《诗经》满文译本的流通，以及《钦定诗经传说汇纂》的纂辑有关。<br /> <br /> ==Yang Yue 杨悦==<br /> 康熙朝后期，汉书翻译的范围得到拓展，在翻译经、史之外，兼及明儒之书，如《菜根谭》、《醒世要言》等，这些书同样涉及治世之道、除恶扬善之法，但无一者关乎“五经”。<br /> <br /> ==Yang Ziling 杨子泠==<br /> 雍正年间，前朝既定的学术方针大体得以遵循。<br /> <br /> ==Yao Cheng 姚诚==<br /> 一方面，世宗敕撰《诗经传说汇纂》成书，以竟圣祖未竟之志；另一方面，又以朱熹弟子蔡沈的《书集传》为底本，并荟萃汉、唐以来诸家学说，敕纂《书经传说汇纂》成书。<br /> <br /> ==Yao Jia 姚佳==<br /> 与此同时，朝廷刊行《五经四书读本》、《五子近思录辑要》等汉文旧籍，并应世宗圣谕将其中部分颁赐国子监，及其它旗学机构。<br /> <br /> ==Yi Huan 易欢==<br /> 然而，雍正朝官方刊刻的七种汉籍满译本中，无一种为“五经”类，其中原因，仍待详考。<br /> <br /> ==Yi Zichu 义子楚==<br /> 乾隆朝以后，朝廷延续“崇儒礼佛”的政策，翻译中又以儒学典籍为大宗。<br /> <br /> ==You Yuting 游雨婷==<br /> 其中，翻译“五经”者如《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译礼记》、《御制翻译春秋》等。<br /> <br /> ==Yu Ni 余妮==<br /> 固然，“五经”教义足以启迪心灵、荡涤灵魂，但高宗不畏耗时耗力之苦，重译或重刻上述典籍，如此坚持必有良苦用心。<br /> <br /> ==Yuan Shiqi 袁诗琦==<br /> 据《清高宗（乾隆）御制诗文全集·御制文初集》中所说，高宗曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书，无不蒇事》”（同上：15）高宗对“五经”教义的遵崇，从他以“五经卷”调整科举程式的做法中可见一斑。<br /> <br /> ==Yuan Tianyi 袁天翼==<br /> 众所周知，清代科举考试在“四书”、“五经”的出题上有其规定，如《清史稿》中说“初场试书艺三篇、经义四篇”，即是说考试四书题三道，从《论语》、《大学》、《中庸》、《孟子》中进行抽取，于每部各出一题。<br /> <br /> ==Yuan Yuchen 袁雨晨==<br /> 而“经义四篇”是指从《诗经》、《尚书》等五部经籍中进行出题，每部各出一题，共计二十题。<br /> <br /> ==Zeng Fangyuan 曾芳缘==<br /> 考生在作答时，既可选择某一经书的四题作答，也可选择全部五经之题作答，前者即所谓“认习一经”，后者则系“全作五经文”。（赵尔巽等，1977：3159）<br /> <br /> ==Zeng Liang 曾良==<br /> 虽然“全作五经文”与清代科场条例不合，但“认习一经”又容易导致学风空疏，视野狭隘，因而为使学风敦实醇厚，提倡“实学”精神，“五经中式”势在必行。<br /> <br /> ==Zeng Xinyuan 曾心媛==<br /> 乾隆五十二年，高宗降旨，指出士子束发读书，本应“五经”全读，而现在的读书人中，于“本经之外，或竟至束书不观”者大有人在，这一点绝非崇尚经术之道。<br /> <br /> ==Zeng Yanhu 曾雁湖==<br /> 于是，高宗决定自次年开始，采取“五经”轮试的办法，五十八年后又改为“五经并试”，并将此法“定为永制”，以凸显“五经”学习的重要性。（陈文新、潘志刚，2018：171）<br /> <br /> ==Zhang Hu 张虎==<br /> 受此影响，高宗时期的“五经”翻译不仅数量上超越前代，而且质量和成效上较为理想，官方对此颇感自豪。<br /> <br /> ==Zhang Hui 张慧==<br /> 《钦定八旗通志》中说，开国以来，清代诸帝先译“四书”，“示初学之津梁”，后又译“五经”，《周易》、《尚书》、《诗经》、《春秋》、《礼记》等均在其列。<br /> <br /> ==Zhang Ling 张玲==<br /> 五部经书，意旨、功用各自不同，其中“《易》则略象数之，示其吉凶；《书》则疏诘屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄托可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。”（铁保等，1968：5-6）<br /> <br /> ==Zhang Peiwen 张佩闻==<br /> 其中进一步指出，先儒于“五经”中的诂经，大多“株守其文”，既显拘泥，且文义不通，而翻译五经四书，正可疏通其意，使其明白无误，这一点对于裨治文教，意义至大。（同上：6）<br /> <br /> <br /> ==Zhang Qi 张琪==<br /> 乾隆朝翻译“五经”，除翻译原典的正文内容之外，也不时将章句训诂含括在译文之内，以助学者、读者研习经义。<br /> <br /> ==Zhang Weihong 张维虹==<br /> 这么做至少有两方面的好处：其一，统一学术；其二，实现文化统制。<br /> <br /> ==Zhang Xueyi 张雪仪==<br /> 众所周知，乾隆朝初期以前，汉文经史的翻译主要以满文本为主，或者以满文本、满汉合璧本并行，但乾隆二十年以后，所有汉籍译本均为满汉合璧本。<br /> <br /> ==Zhang Yinliu 张银柳==<br /> 之所以进行此番调整，实源于旗人国语学习的现状，即，从清初王公大臣“无不弩强善射，国语纯熟”，渐变为“不能人人尽通国语”。（昭梿，1997：16；杨钟义，1969：1）<br /> <br /> ==Zhang Yu 张瑜==<br /> 与顺治年间旗人在“既习满书”的前提下，通过翻译汉书“观玩”，以了解汉族文化的动机不同，乾隆二十年后的“五经四书”翻译，其主要目的即是劝导那些渐习汉字，渐染汉俗的八旗子弟重拾“国语”，以固满洲旧俗、国之根本。<br /> <br /> ==Zhang Yujie 张毓婕==<br /> 正所谓“或因经义以通国书，而同文之圣化被于四方”，又或者“因国书以通经义，而明道之遗编彰于万世”，二者之中均以“国书”为要，而以通经明道为轻。（铁保等，1968：6）<br /> <br /> ==Zhang Yuxing 张宇星==<br /> 至于高宗本人，不仅熟读《诗》、《书》，而且精研《易》、《春秋》，尤其偏好历史，曾著“史论”五十余篇，以探讨历代治理之得失。<br /> <br /> ==Zhao Xi 赵茜==<br /> 同时，高宗秉承世宗之志，阐释“狄夷”、“籍贯”之说，以构建政权的意识形态，认为国之“正统”必须遵从“《春秋》大一统之义”，“尊王黜霸”，立万世纲常，以正人心。（庆桂等，1985：34-35）<br /> <br /> ==Zhao Xiaoyan 赵晓燕==<br /> 通过译印《春秋》，并就其与《通鉴纲目》等进行论证，高宗不仅驳斥了关于自身的批评与质疑，而且为国家建构了统治理论。<br /> <br /> ==Zheng Huajun 郑华君==<br /> 高宗对于《春秋》的推崇是极其明显的，以致乾隆四十七年当皇子与军机处大臣奉敕订正《通鉴纲目续编》时，高宗仍要求他们将原书中的某些内容“量为删润”，以符合《春秋》之体例。（清高宗御制，1993b：57）<br /> <br /> ==Zhou Luoping 周罗平==<br /> 高宗年间，虽然汉籍翻译范围冗杂，佛经翻译显著增加，但崇儒重道之风并未改变，经史翻译仍是继往圣之绝学，开万世之太平的重要手段。<br /> <br /> ==Zhou Shiqing 周诗卿==<br /> 高宗对“《春秋》，天子之事；是非，万世之公”的论调倍加推崇，指出为人之君，固然有褒贬群臣的权力，但是非公理也是人君必须秉持的常轨。（中国第一历史档案馆，1998：830）<br /> <br /> ==Zhou Shuyao 周书尧==<br /> 高宗指出，历来编年之书，数量繁多，皆以《通鉴纲目》为准，而《通鉴纲目》只是纂述《春秋》之义，以明天统、正人纪、昭监戒。（清高宗御制，1993a：11）高宗在位期间，对宋儒理学推崇备至，认为不仅“道统”“绍于周、程、张、朱五子”，而且“经典”也因“程、朱表章”，而“赫然昭著而大行”。（弘历，2005：20-21）<br /> <br /> ==Zhou Siqing 周思庆==<br /> 然而即便如此，自乾隆十四年起，高宗仍然调整了独尊理学的政策方针，将关注的目光重新投射至经学。<br /> <br /> ==Zhou Yiwen 周艺文==<br /> 《乾隆朝上谕档》对此事有着详实的记载，其中指出：<br /> 圣贤之学：行，本也；文，末也。<br /> <br /> ==Zhou Yuanqu 周园曲==<br /> 而文之中，经术其根底也，词章其枝叶也。<br /> <br /> ==Zhou Yujuan 周玉娟==<br /> 翰林以文学侍从，近年来因朕每试以诗赋，颇致力于词章，而求其沉酣六籍，含英咀华，究经训之阃（kǔn）奥者，不少概见，岂笃志正学者鲜与？……夫穷经不如敦行，然知务本则于躬行为近。<br /> <br /> ==Zhu Meimei 祝美梅==<br /> 崇尚经术，良有关于世道人心。<br /> <br /> ==Zhu Suyao 朱素瑶==<br /> ……内大学士、九卿，外督抚，其公举所知，不拘进士、举人、诸生，以及退休闲散人员，能潜心经学者，慎重遴访。<br /> <br /> ==Zhu Xu 朱旭==<br /> 务择老成敦厚，纯朴淹通之士，以应精选。<br /> <br /> ==Zou Xinyu 邹鑫雨==<br /> 勿滥，称朕意焉。（中国第一历史档案馆，1998：393）<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 所谓“经学”原指先秦时期的各家学说，但汉代以后往往专指儒学“十三经”，其中又以“四书”、“五经”为要。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 因而，高宗此处强调经术乃“文”之根本，理应含括“五经”学问。<br /> <br /> ==Ziyuanzhe 自愿者==<br /> 从高宗颁赐内阁的此谕中，不难看出其对于经学研究的鼓励，因而敕令朝臣遍访学界，考选潜心经学者，以便“耆儒夙学”得以“布列朝班”。（昭梿，1997：15-16）</div>

Wu Kai